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BRITISH 

MUSIC PUBLISHERS, 

PRINTERS, and ENGRAVERS. 



X 



BRITISH 

MUSIC PUBLISHERS, 

PRINTERS and ENGRAVERS: 

London, Provincial, Scottish, and Irish. 

FROM QUEEN ELIZABETH'S REIGN TO 
GEORGE THE FOURTH'S, 

WITH SELECT BIBLIOGRAPHICAL LISTS OF MUSICAL 

WORKS PRINTED AND PUBLISHED WITHIN 

THAT PERIOD. 



BY 

FRANK KIDSON, 

Author of "Traditional Tunes," etc. 



I 



London - : 

W. E. HILL & SONS, 

140, New Bond Street, W, 



To 

My Friend 

THOMAS WILLIAM TAPHOUSE, 

of 'Oxford, 

I Dedicate this Volume, 
As a Slight Token of Esteem. 






Preface. 



As a pioneer work, the present volume must 
claim a little indulgence. Excepting a few scattered 
notices here and there, nothing dealing with the 
subject of the following pages has yet appeared, 
and facts bearing on it are scanty and scattered 
in many places. The lists of publications are not 
put forth as containing all that my material would 
furnish, but are merely selections culled to show 
types of a publisher's issue ; to fix a date, or give a 
variation of imprint. The names attached here 
and there are those of the owners of the particular 
copies I have consulted and do not imply that such 
works may not be in the British Museum or else- 
where. Much of the bibliographical matter comes 
from my own library, while my friend, Mr. T. W. 
Taphouse, of Oxford, has freely (as he has ever 
done) thrown open to me his large and valuable 
store of rare and unique volumes. The British 
Museum has, of course, also furnished much, and 
I have to thank Mr. W. Barclay Squire there, for 
much helpful courtesy and for the trouble he has 
taken in many ways. I must also thank Mr. 
Arthur F. Hill, Mr. Alfred Moffat, and Mr. J. E. 
Matthew, of London, Mr. John Glen, of Edin- 
burgh, Dr. Culwick, and Mr. E. R. Mc Dix, of 
Dublin, and others who have furnished titles and 
imprints from their collections. Their contribu- 
tions are all indicated in the text where they occur, 
and it but remains to thank all heartily for their 
aid. The references from the Edinburgh direc- 
tories for 1804, 1806, and 1807 are from copies in 
Mr. Glen's possession. I am also indebted to 



Mr. Hardie Brown, bookseller, Edinburgh, for 
kindness in allowing me the use of a hie of early 
Edinburgh newspapers. I have to thank Mr. 
McLauchlan and his assistant at the Dundee 
public library for facilities granted in connection 
with the Wighton Collection, and a great number 
of practical sympathisers with the work. 

FRANK KIDSON. 
128, Burley Road, 
LeeDvS. 
January, 1900. 



Introduction 



THE present volume is an endeavour to place in a form, 
convenient for reference, a list of men (a number of whom 
were themselves musicians) who have played important 
part in the building up of British Music. By its aid it is hoped 
that much fresh light will be thrown on the musical history of 
the period it covers, and in some degree remove that 
uncertainty as to date, with which the average musician, 
librarian, or bookseller regards a piece of old music. The 
unfortunate habit, in force even to-day, of omitting the year of 
publication on musical works has caused more anxiety, trouble, 
and vexation of spirit to the antiquary in such matters than 
the outsider, unacquainted with the toil of tracking a melody 
to its source or of following the career of a musican, can con- 
ceive. Prior to the 18th century Playford and the earlier 
printers honestly placed the year of issue before the reader, 
but the wily John Walsh soon discovered that "women and 
music should never be dated," and up to the present the 
maxim has been religiously observed. To get at the date of 
such undated work it is necessary to find out the business 
movements of the publisher; his partnerships, his changes of 
address, and the year for such events. In the absence of 
publisher's name or initals, the quality of the paper, or engrav- 
ing, or if it chance, a dated signature of a former owner all 
have to be taken into account before a satisfactory estimate of 
a year of publication can be arrived at. The yearly issue by 
nearly every publisher of a set of twenty-four country dances 
gives absolute dates and so do the inclusion in collections of 
airs, songs from the various operas, for there is satisfactory 
record as to the performance of these, and however much after, 
the work which contains melodies from one cannot be of earlier 
date. The London Directories are in some degree of great 
use, but this only applies to the comparatively late ones, for 
music sellers, even late on in the eighteenth century, were 
completely ignored by the compilers of the lists, with the sole 
exception of the Thompson family. After about 1780 one or 
two other names began to creep in, but very complete lists 
were not given until almost the first quarter of the new 
century. The London Directories were in this respect far 
behind those of Edinburgh and of the English provinces. 



The art of music printing followed closely upon the 
discovery of letterpress typography ; results being obtained 
in various ways on the Continent. The first piece of music 
printing in England is a fragment about an inch square, con- 
taining but 8 notes, used as an illustration in Higden's 
" Polychronicon," printed by Wynkyn de Worde in 1495. 
Shortly after this date many musical works issued from the 
English presses, being missals for the various Cathedrals. 
It is questionable which is absolutely the first secular 
musical work printed in England, but one of the earliest is an 
oblong quarto work in the British Museum, (attributed to 
Wynkyn de Worde) with the printed date 1530. Its title runs : 
" In this boke ar Coteynyd XX Soges ; ix of iiii ptes, and xi 
of thre ptes [a list follows] . Anno dni MCCCCCXXX, 
decimo die mensis octobris," oblong 4to. Another work 
which was at one time considered to be of the date 15 19 and 
supposed to be printed by John Rastell [or Rastil] , contains 
four pages of music, set up from moveable type : — " A New 
Interlude, and a mery of the nature of the iiij Elements" 
(no printer's name. British Museum). Though there is a 
chance that other secular music books had been printed, yet 
beyond these two works I have been unable to trace any 
others until past the middle of the sixteenth century ; but 
Rd. Grafton, John Day, and others were printing Psalters and 
other religious musical works freely' All this early music 
printing was done from moveable metal type, woodblock, 
or other raised surfaces, and it was not until quite late that 
engraving was employed in the production of music. It has 
been long held that ' ; Parthenia," 161 1, was the first engraved 
music, and again it has been recently stated that a work, 
entitled " The Noble Arte of Venerie, or Hunting [George 
Turberville] ...Imprinted by Henry Bynneman for Christopher 
Barker," 1575, 4to, contains music printed from engraved 
plates. In this opinion I cannot coincide. The music in 
question is the notes for the hunting horn and having care- 
fully examined the 1575 and the 2nd edition 161 1, I am under 
the conviction that in both copies the music is printed from a 
raised surface ; the work is freely adorned with wood- 
cuts, so no doubt a wood block has been cut for the purpose 
as undoubtedly it would be far the simplest and readiest 
method to employ. Perhaps there are earlier engraved 
works than " Parthenia," but I do not grant that the " Noble 
Arte of Venerie " is one of them. Though there are isolated 
instances of music printing from engraved plates, yet for a 
very long period the general practice was to have it worked 



off from moveable type, right down to almost the end of the 
sixteenth century. The Dutch are said to have been the 
forerunners in plate music engraving, and by a method of 
softening the copper they were enabled to punch the notes on 
the plate and so save considerable labour and skill in its pro- 
duction. About 1680, plate engraved music became pretty 
general in England. John Playford had, however, previous to 
this issued several works in which the music was cut on 
copper, and he also re-printed others from works done on 
it prior to his time. 

Hawkins gives the date 1710 for the introduction of the 
process of stamping music on pewter plates, naming Walsh 
and Hare in connection with it. The process continuing 
from that time to this remains the one in general use to-day, 
with the advantage of a transfer of the impression to a litho- 
graphic stone and the consequent rapidity of production. 

The printing of music from moveable type was in great 
use from the time of the first printers down to the commence- 
ment of the eighteenth century, when, for large works, it 
fell entirely in disuse, being superceded by the stamped 
pewter plates. Octavo Psalm books, however, continued to be 
printed from raised type or woodcuts as also odd pocket 
volumes of songs, quite through the century. Fought and 
Falkener, however, attempted to revive the type printed folio, 
but quite unsuccessfully. Up to about 1687-90 the lozenge 
shaped note was always used in typography with the tails of 
the quavers and semi-quavers separate. They were joined 
together in the modern fashion on plate printed music at and 
before this time, but it was not until Heptinstall and after 
him Pearson made their improvements that the " new tied 
note " came to be used. To-day, the problem of a simple 
method of setting up music in type remains undiscovered. 
For the simplest line of notation the printer has to use a com- 
bination of small pieces and to build the notes up from these 
fragments, and in general to make a stereotype block from 
the type thus set up before working off an edition. Music 
printing is therefore a rather costly matter and only a small 
proportion of printers venture into this branch of the trade. 
About 1830 a revival of folio type printed music was made 
owing to an invention by Edward Cowper, patented in 1827. 
The notes were set up in their entirety in copper type, and the 
stave lines were printed separately. This double printing 
must have been inconvenient, though the results were excellent. 
It was, in fact, practically the same with the process 
employed in the work dated 1530 above referred to, 



Chappell, and Goulding and D'Almaine employed Cowper's 
process for a short time only, for they quickly reverted back to 
engraved plates. It must have been as late as 1850 before 
the general introduction of lithography for music printing, by 
means of a transfer from an engraving on to the stone. Thirty 
years prior to this, a Birmingham man, W. Hawkes Smith, 
had produced several music sheets by drawing on the stone, 
and shortly after lithographic vignettes began to be used on 
the engraved title-pages. 

Having referred to the mechanical difficulties of music 
production, it now remains to show how this was hampered 
by State interference. Under the plea that the exercise of 
printing was subject to the direct approval of the sovereign, 
Several monarchs attempted meddling in the craft and granted 
licenses to a favoured few. Queen Elizabeth, as a reward for 
services rendered at the Chapel Royal by two musicians, 
Thomas Tallis and William Birde, granted to these, con- 
jointly, or the survivor of them, the sole power to print or 
allow to be printed musical works in England, with the 
additional grant of veto to all imported music. This arbitrary 
patent, we may well imagine, exercised a most mischievous 
effect on the production of music when the art was at one of 
its brightest periods and when British born talent met with a 
ready recognition, which it has, since those days, had to fight 
hardly for. The Patent, as printed at the end of a work of 
sacred music printed by Thomas Vautrollier in 1575, is as 
follows : — 

"Elizabeth, by the grace of God Quene of Englande, 
Fraunce, and Ireland, defender of the faith, &c. To all 
printers, booksellers, and other officers, ministers, and 
subjects greeting, Know ye, that we, for the especiall 
affection and good wil that we have and beare to the science 
of musicke, and for the advancement thereof, by our 
letters patent, dated the xxii of January, in the xvii yere 
of our raigne, have granted full priviledge and license unto 
our welbeloved servaunts, Thomas Tallis and William 
Birde, gent, of our chappell, and to the overly ver of them, 
and to the assignes of them and of the surviver of them, 
for xxi yeares next ensuing, to imprint any and so many 
as they will of set songe or songes in partes, either in 
Englishe, Latine, French, Italian, or other tongues that 
may serve for musicke either in churche or chamber, or 
otherwise to be either plaid or soonge : And that they 
may rule and cause to be rulled by impression any paper 



to serve for printing or pricking of any songe or songes, 
and may sell and utter any printed bokes or papers of any 
songe or songes, or any bookes or quiers of such ruled 
paper imprinted. Also we straightly by the same forbid 
all printers, booksellers, subjects, and strangers, other than 
as is aforesaid, to do any the premisses, or to bring or 
cause to be brought out of any forren realmes into any of 
our dominions any songe or songes made and printed in 
any forren countrie, to sell or put to sale, uppon paine of 
our displeasure : And the offender in any of the premisses 
for every time to forfet to us, our heires, and successors 
fortie shillings, and to the said Thomas Tallis and William 
Birde, or to their assignes, and to the assignes of the 
surviver of them, all and every the said bokes, papers, 
songe, or songes. We have also, by the same, willed and 
commanded our printers, maisters, and wardens of the 
misterie of stacioners, to assist the said Thomas Tallis 
and William Birde, and their assignes for the dewe 
executing of the premisses." 

Thomas Tallis having died in 1585 Birde alone held it and 
assigned the privilege to Thomas Este and perhaps others. 
Birde's patent expired in 1595, before his death, and for some 
three years it was not renewed. During this time T. Este and 
Peter Short were printing music books, probably by license 
granted from the officers of the Crown. In 1598 a fresh 
patent was assigned and this time to Thomas Morley, a pupil 
of Birde's, and (as Tallis and Birde had also been) a Gentle- 
man of the Chapel Royal. The pay of this office was about 
sevenpence a day, so it was easy to understand that the rights 
over music printing were given as an addition to this small 
emolument. Morley's patent was similar to Birde's. 

It must be noticed by the wording of the first patent 
that ruled paper for music writing was included in it, 
but only that produced by impression, so that the musician 
was at least free to rule his own paper. The number of 
exclusive patent rights granted by the Crown for all kinds of 
things to merely private persons became so dangerous that the 
House of Commons took notice of the matter, and in 1601 
Morley himself had to answer questions put by the House 
regarding his privilege, but though this held good, yet, after 
its expiration, English music production became free to all. 
Morley assigned licenses to Peter Short, Thomas Este, and 
William Barley, and having died in 1604 the patent then came 
into possession of William Barley, who allowed Windet, and 



others to print under his assignment. I think it is likely that 
the privilege came to an end in 1614, as I can find no reference 
to it after that date, and others, besides the older printers, 
then appear in the field. Though printing was now more or 
less free in England, yet it was not so in Scotland, as will be 
seen by a brief notice on page 177 of the present volume. 

From what may be termed the Madrigal Era — roughly 
between 1590 and 1620 — the production of music books fell 
off considerably in spite of a free music press. Between the 
above dates numbers of excellent works had been given forth, 
and this even under restrictive license. There must have been 
some radical change in popular fashion for light singing 
appears to have ended and given place to more weighty 
matters. Charles the First had come to the throne and internal 
troubles were brewing. Psalm tunes still came forth for 
they appealed to the serious ones of both parties. Although 
Prynne had written his work against music and stage plays 
and been mutilated, pilloried, and condemned to imprisonment 
for life in consequ ence, yet, people cannot be made merry 
by Act of Parliament ; a wet blanket seems to have been cast 
over secular music, until strange enough as it may seem the 
Commonwealth was declared. It was then that John Play- 
ford came to the rescue of English music and from 1650, 
onward to the beginning of the eighteenth century he and his 
sons were its pillars. Then followed Walsh and music 
printing became general. 



music Printers ana Publislxrs. 



a 



Condon. 

This was the sign of a music shop named the 
" Little a," at 41, Leadenhall Street, under the 
proprietorship of W. Bailey (see Bailey). 

Adams, Thomas. At the White Lion, in St. Paul's 

Churchyard. He was one of the 

early music publishers and employed Thomas Este, Peter 

Short, and others, to print books of airs and songs. His 

earliest recorded date seems to be 1603 an d the latest, 1614. 

1603. The Third and last Bouke of Songs or Aires, newly com- 
posed to sing to the Lute, Orpharion, or Viols. By John 
Dowland. Printed at London by P.S. [Peter Short] for 
Thomas Adams, and are to be sold at the Signe of the 
White Lion, in St. Paul's Churchyard, by the assignment 
of a patent granted to T. Morley. I603. Folio. 

1606. Songs for the Lute, Viol, and Voice, composed by J. Danyel. 
Printed by T. E. [Thomas Este] for Thomas Adams. 
1606. Folio. 

iOoy. Deuteromelia, or the second part of Musick's Melodie, 
London, Thomas Adams, etc. 1609. 4to. (Matthew.) 

1609. Andreas Ornithoparcus, his Micrologus. John Dowland. 
Printed for Thomas Adams, dwelling in Paule's Church 
Yard, at the Signe of the White Lion. 1609. Folio. 
(Music cut in wood). (Taphouse.) 

1610. A Musicall Banquet. Robert Dowland. 1610. Folio. 
{Matthew.) 

161 1. Melismata, Musicall Phansies, fitting the Court, Citie, and 
Countrey. Printed by William Stansby for Thomas Adams. 
161 1. 4to. (Matthew.) 

1614. A Briefe Discourse of the true (but neglected) use of 
charactring the Degrees by their Perfection, Imperfection, 
and Diminution, in measurable musicke. By Thomas 
Raven scroft Printed by Edward Allde for Thomas Adams. 
1614. 4to. 

The full titles of these and many other of the early 
printed music books (between 1588 and 1638) quoted in the 
present volume are accurately given in that valuable little 
record Rimbault's " Bibliotheca Madrigaliana " 1847. A 
number of the originals are in the British Museum, and in the 
old Sacred Harmonic Society's library. Mr. Taphouse, of 
Oxford, and Mr. J. E. Matthew, of Hampstead, are also the 
fortunate possessors of many of these now unobtainable 
examples. 



Allde, Kdward. An early printer. Johnson, the 

typographer says "He dwelt at 

the sign of the Golden Cup, without Cripplegate, in 1587, till 

after 1600." Allde printed at least two music books from 

moveable type after this latter date. 

1614. "A Briefe Discourse." By Thomas Ravenscroft (see Adams). 

1615. Sacred Hymnes, of 3, 4, 5, and 6 parts, for Voyces and 
Vyols, newly composed by John Amner. . . Printed by Edw. 
Allde, dwelling neere Christ Church. 4to. 

Andrews, W. It is n °t improbable that one of these 

was the Andrews in partnership with 

Robert Birchall. Some time about, 

Andrews, ri. or prior to the year 1790, W. 

Andrews issued Sheet Music from 12, London Road, South- 

wark, and H. Andrews apparently succeeded to the business 

here, but with the number altered to 1 1 , London Road. 

Sheet songs are found bearing this latter name and address, 
one being from " Cymon," an opera, revived on a grand scale 
at the Haymarket, on Dec. 31st, 1791. Near the year 1800, 
H. Andrews removed to 11, Kendall Place, Lambeth, which 
address became, before 1805, IX > Little Canterbury Place. A 
reference to maps of London will show that these are identical 
and that the re-naming of the street occurred about 1803-4. 

From Little Canterbury Place he issued the bulk of his 
publications between 1804 an d 1810. These include a series 
of " Five Favourite Dances," folio, Numbers 1 to 39 (7, 8, and 
9 dated 1805), and a small oblong volume for the flute "The 
Gentleman's Vade Mecum," besides much sheet music. 
Andrews' name is in the Directory for 1807, but ^ is probable 
he did not print after 181 0-12. 

At one time Andrews was in business connection with 
G. Verey, their names appearing together on sheet music, and 
in some cases with Andrews' name stamped over that of 
Verey's, imperfectly erased from the plate. 

Some of Andrews' dances were reprinted at a later date 
by W. Sibley. 

AstOF, George. The elder brother of John Jacob 
Astor, the American millionaire, and 
born of peasant parents at Waldorf, near Heidelberg. He 
came as a young man to England about 1778, and getting 
employment at one of the makers of musical instruments, 
induced his younger brother John Jacob to join him in London. 
Here, after working as journeymen, the two brothers set up 
together in a small shop. 



3 

In 1783 John Jacob determined to visit another brother 
then resident in America, and took this opportunity, or made 
it the primary object of his voyage, to try to establish an 
opening for the sale of musical instruments. He took with 
him a small consignment of flutes, not more than £5 worth, 
and sailed for Baltimore. 

On the voyage out he became acquainted with a fellow 
passenger who advised him to invest his money in furs. 
Having disposed of his flutes, Astor followed the suggestion, 
and getting back to London, he found the fur trade much more 
profitable than working as a musical instrument maker. He 
returned to America, and in 1 795 had become so prosperous that 
he was enabled to give a carte blanche order to Mr. John 
Broadwood for a grand pianoforte, to be sent out to him in 
New York; a fact testified by a letter still preserved by 
Messrs. Broadwood. 

In 1809 he established a Fur Trading Company, ultimately 
making a large fortune in this and by the acquirement of 
property in the fast growing city of New York. 

Meanwhile George Astor remained in London, and in 
1794 had a small shop at 26, Wych Street, near Drury Lane, 
where, in the Directory for that year he is designated as 
" Musical Instrument Maker." He retained this place of 
business till after 1797, and in 1798, having apparently pros- 
pered, he removed to larger premises at 79, Cornhill, and here 
commenced the business of music publisher, having besides 
another address at 27, Tottenham Street, near Fitzroy Square ; 
this was probably the manufactory for instruments. 

He was now, according to an advertisement bearing the 
date 1800, " Manufacturer of Grand and Small Pianofortes 
and Musical Instrument Maker to His Majesty's Army." 

In 1801-2 he entered into partnership with others, and the 
firm became "George Astor & Co." From 1807 to 181 1 they 
had, in addition to the Cornhill establishment, another one as 
" Organ Builders," at Sun Street, Bishopgate Street, but 
shortly after the last-named date this address is dropped. In 
1815 the firm is "Astor & Horwood, 79, Cornhill"; George 
Astor issued yearly collections of 24 Country Dances for the 
Violin, which were continued by Astor & Horwood ; those for 
1803 an d 181 8 being in the British Museum Library. . Some 
Sheet Music and a Flute Preceptor also bear Astor's imprint, 
but I have seen no more important work. 



In 1824 the firm at 79, Cornhill, was Gerock, Astor & Co., 
C. Gerock, with Wolf, being makers of pianofortes. 

In 1825, in addition to the Cornhil] traders, another 
"Astor & Co." is at 61, Lamb's Conduit Street. 



Atkins, Thomas. A music engraver, whose name 
is affixed to a book in oblong 4to, 
bearing the date 1728, Galliard's "Hymn of Adam and Eve" 
(afterwards re-published by Walsh). Atkins also engraved a 
fine folio work by Dr. Croft, " Musicus Apparatus 
Academicus," being two Odes performed at Oxford in 171 3. 
This bears the imprint of Richard Meares, and is in date 
about 1720. 

Babb, S. Had an extensive business at 132, Oxford 
Street, facing Hanover Square, between the 
dates 1770 till shortly after 1780. 

His publications were sheet music, including many of 
Handel's pieces, as well as some catches and glees. He 
published a set of duets by Giordani, in oblong folio, and the 
songs in Gretry's Opera " Zemireet Azor " [Dec. 16th, 1771] 
He was probably the first to print "Auld Robin Gray," as set 
to Leeve's air. 

He retired from business after 1780, and his whole stock- 
in-trade and Musical Circulating Library were sold to Joseph 
Dale, who had then a very small establishment in a private 
house in Chancery Lane. If we are to believe an advertise- 
ment issued by Dale at this time, Babb's Musical Library 
numbered over 100,000 books, among which we imagine would 
be many treasures of musical antiquity. Dale having removed 
his trade to Babb's old premises, established here one of 
the most important businesses of his time. 



Bailey, W. Published about the years 1770- 1785 
many engraved sheet and half-sheet songs 
at the sign of the " Little a," 41, Leadenhall Street. 

The name of Bailey is frequently absent and the imprint 
generally gives " printed and sold at the Little a," with the 
address, though some few sheets bear W. Bailey in addition. 
Some of his songs are in my own, and others in the British 
Museum Library, and one in the latter bears date 1780 as given 
below. The same Bailey or his son having a similiar sign in 
large wooden letters over his door is mentioned by Mr. Tuer 



5 

in his reprint of " Dame Wiggins, of Lee," as having been a 
notable letterpress printer in Bishopgate Street. 

" A Song made for the True Blue frigate who has taken her station 
off Tower Hill this day, February 29th, 1780." 

" A favourite Peel on Eight Bells called a course of Grandsire 
Trebles." 

"Nancy My Wife," "The Wretched Captive," with other half- 
sheet songs. 

Bainbridge, Wm. A flute-maker and patentee of a 
double flageolet. He was also 
" principal oboe, flute, and flageolet player at Astley's Theatre, 
and at Sadler's Wells." . 

His instruments, including the rather curious double 
flageolet, are now occasionally met with, and in their day they 
bore a well merited reputation. 

He was first at 2, Little Queen Street, but about 1800-5 
he had his shop at 35, Holborn Hill, with which address most 
of his flutes are stamped. 

From here he issued several books of airs and instructions 
for his instruments. At one time he was in partnership with 
a person named Wood. 

Circa 1805. " I Dolce Flauti or the Mellifluous Flutes," arranged ex- 
pressly for Bainbridge's new patent double flute by John 
Parry, oblong 4to. 

Bainbridge's & Wood's "Flageolet Tutor," whereby any 
person may play songs, tunes, etc., without learning notes, 
oblong 4to. 

Baldwin, Richard. " Near the Oxford Arms," in 

Warwick Lane, printed and 
published a literary and musical magazine, issued monthly, 
bearing the title : "The Gentleman's Journal, or the Monthly 
Miscellany, by way of letter to a gentleman in the country, 
January, 1691/2, London, 1692." 4to. Later ones are printed 
and sold by R. Parker, at the Unicorn, under the Piazza, at 
the Royal Exchange in Cornhill ; and by R. Baldwin, near the 
Oxford Arms, in Warwick Lane, and at the Black Lion in 
Fleet Street, between the two Temple Gates, 1693. 

The musical portion consists of Songs set up in moveable 
type. Copies are in the British Museum. 

Another Richard Baldwin published Knapp's " New 
Church Melody" in 1756 and 1764. 

Balls, Tames. A pianoforte maker as well as a music 

engraver and publisher. An early 

notice of him is in connection with a pianoforte patent taken 

out November 16th, 1790 (see Brinsmead's " History of 

the Pianoforte." About this date and a little later some sheet- 



songs are "engraved by J. Balls, of 8 Middle Scotland Yard, 
Whitehall," or "Westminster," and others, printed before 
this year have the imprint "Sold at Ball's Music Shop, No. i, 
Duke Street, Grosvenor Square." (Folio volume, with MS., 
date 1790, in British Museum). 

In 1806 the Directory, as well as sheet-music and piano- 
fortes give his address at No. 26, in the same street, but on 
engraved music for "La Belle Assembee," July — Sept., 1807, 
his address changes again to 12, Castle Street, Leicester Square. 

About then he appears to go into partnership with 
George Balls, removing about 1809 to 408, Oxford Street, 
where so late as 1853 descendants of the family " Eliza Balls 
& Co." still remain. About 1815-16 the original name James 
Balls alone holds and continues till at least 1822, and George 
Balls seems to have gone to "151, Chestnut Street, Philadel- 
phia," — while another relation, T. Balls, is at " Norfolk, 
America," acting as agents for their English relation. Besides 
sheet-music Balls issued some oblong quarto collections of airs 
for the German flute. "The Gentleman's Amusement," Books 
I to IV, 1817-20. 

The directories for 1823-24 give: " Ball & Son, Grand 
Pianoforte Makers, 27, Duke Street, Grosvenor Square, that 
for 1825 " Edward Ball." Though generally spelled with 
the s, the name is sometimes "Ball" on imprints and in the 
directories. 

Barley, William. A bookseller and printer who in 
1592 lived in Gracechurch Street. 
His latest date seems to be about 1614. He acquired 
from Thomas Morley the patent of the exclusive right 
to print music, granted to the latter sometime about 1598. 
Barley probably made a profitable transaction out of this license, 
for from 1599 to 1614 printers of music books, including John 
Windet, Thomas Este, and others, make acknowledgement of 
the assignment on their imprints. The books which bear 
Barley's name as printer are not very numerous ; they include : 

1596. A Newe Booke of Tabliture containing sundrie Instructions 
showing how to attaine the knowledge to guide and dispose 
thy hand to play on sundry instruments. . . Printed for 
W. Barley, T596. Oblong 8vo. (British Museum.) 

1599. The Pathway to Musicke, contayning sundrie familiar 
rules for the ready understanding of the scale. . . Printed 
for W. Barley, 1599. Oblong 8vo. 

1599. Pavans, Galliards, Almains, and other short ^Eirs, both 
grave and light, in 5 parts for Viols, Violins." . . Anthony 
Holborne, printed by W. Barley, the assigne of T, Morley, 
1599. 410. 



1599- " The Psalms of David in Meter." 1599. Folio. 

1599, The First set of English Madrigals to foure voices newly 
composed by John Farmer, practicioner in the art of 
Musicque, Printed at London in Little Saint Helens by 
William Barley, the assigne of Thomas Morley, and are to 
be sold at his shoppe in Gratious Streete, Anno Dom. 1599. 
4to. (Matthew.) 

1599, Madrigalls to foure voyces newly published by John 
Bennet, his first works At London ; printed in Little Saint 
Helens by William Barley, the assigne of Thomas Morley. 
1599. (Taphouse). 

1608. Ayeres or Phantasticke Spirites for three voices, made and 
newly published by Thomas Weelkes. . . London, printed 
by William Barley, and are to be sold at his shoppe in 
Gracious Street. 1608. 4to. (Taphouse.) 

1609. Pammelia : Musicks Miscellanie or mixed varieties of Pleasant 
Roundelayes and delightfull catches. . . London, printed by 
William Barley for R.B. and H.W., and are to be sold at the 
Great North doore of Paules. 1609. 4to. 

1609. "New Citharen Lessons, with perfect tunings of the same," 
Thomas Robinson. 1609. 4to. 

Bates. Christian name not known. Published about 
1 810 a couple of small oblong volumes, containing 
airs for the flute, of which instrument he was probably a 
maker. The title runs " Bate's Universal Melodist or elegant 
selection of the most celebrated Songs, Duetts, etc." . . . 
London, published by the Editor, St. John's Square, Smith- 
field. Oblong i6mo. 4 books. 

Bennett, X. 6i, Holborn, near St. Andrew's Church, 
published in 1766 the third edition of 
" Plain and Easy Instructions for the German Flute by Lewis, 
C.A., Granom," the frontispiece is dated December 13th, 1766 
(quarto) (Taphouse). His better known work was "The 
Musical Magazine," which appeared in sixpenny numbers from 
1767 to 1772, making 6 vols, of large octavo; this was issued 
in conjunction with W. Bingley, 31, Newgate Street. 

Bennison, X. X. 5 1 ) Albermarle Street, Piccadilly, 
a publisher of short lived business 
career, near the years 1800-5. He issued sheet music and 
about 1806 Messrs. Pearce & Co., of 28, Haymarket, announce 
on No. 3 of their "Popular Dances," that they have 
" purchased the whole of Mr. Bennison's plates, stock-in-trade, 
etc.," and are about to re-issue the same. 

Benson, John. A bookseller who in the early years 
of John Playford's career was associ- 
ated with him. This may be gathered from the imprint of 
the first edition of " Catch that Catch Can." — " Printed for 



John Benson and John Playford, and to be sould in St. Dun- 
stan's Church Yard and in the Inner Temple near the Church 
doore, 1652." 

Bew, John. 2 8, Paternoster Row, was a bookseller 
from before 1774 to 1795, who published 
many little and interesting works, half chap book in character, 
but his only musical production that I have seen is the 4th 
volume of " Vocal Music or the Songster's Companion " (the 
music being from type), dated 1778, i2mo. Robert Horsheld 
was the publisher of the previous volumes. Bew's publications 
include " A New Academy of Compliments, 1784," a quaint 
book of songs without music. 

Bickham, George, Junr. An engraver principally 

known by his " Musical 
Entertainer," two large and handsome folio volumes. The 
book consists of two hundred finely engraved plates of songs 
with pictorial headings and surroundings, published in six- 
penny numbers, of four plates, each dedicated to different noble- 
men ; it appeared during the years 1737 and 1738. Unfor- 
tunately the work is now seldom to be met in perfect condition, 
thanks to the industrious collectors of Vauxhall, Marylebone, 
and Ranelagh literature and illustraton, who have seized upon 
the plates bearing reference to their pet subjects. Most copies 
of the book bear the imprint of Charles Corbett, at Addison's 
Head, Fleet Street, but it is evident that the plates were only 
re-issued by him for an advertisement of "No. IV, Vol. II, 
price 6d," from a 1738 magazine, forwarded to me by Mr. 
Arthur F. Hill, shows that it was " printed for and sold by T. 
Cooper at the Globe in Paternoster Row, where may be had 
any of the former numbers of the volumes and the first volume 

complete at 12s. 6d." N.B. There is a mickry of the 

Musical Entertainer published with little success, its the same 
size plates, the rappers like this, therefore don't be deceived 
and take that for this. The designs are in a poor Dutch taste, 
though with an Italian name, and the engraving in general in- 
correct and bad, being not done by the best hands." 

I am unable to identify this denounced work ; it can 
scarcely be " British Melody," which is dated 1739 and 
engraved by Benjamin Cole not "with an Italian name," 
otherwise the two books are exactly similiar in size and style. 
Miss Lucy E. Broadwood forwards me, from a copy in her 
own library, the following imprint on the first volume of the 
"Musical Entertainer," "London, printed for and sold by Geo. 
Bickham at his house, ye corner of Bedford Bury, New 



Street, Covent Garden," plates dated 1737 as in other copies ; 
this is undoubtedly the very first issue of the plates. Mr. J. E. 
Matthew, also possesses one of these early editions. 

Bickham published no other musical work that I can find 
but a" Universal Penman ', and a kind of guide to Hampton 
Court and Windsor Castle with plates, bear his name. This 
latter was published by T. Cooper in 1742 and was sold by 
G. Bickham, Junior, at May's Buildings, Bedford Court, 
Covent Garden. 

Birchall, Robert. One of the important London 
music publishers. From his early 
imprints we learn that before commencing business he was 
employed by William Randall at Walsh's old shop in Catherine 
Street. He probably left here on Randall's death and set up 
in business at 129, New Bond Street, sometime near 1780. 
About this period he, for a short time, was in partnership with 
T. Beardmore at the same address, but this connection cannot 
have lasted any length of time, for as early as 1783-5 
we find the firm as Birchall & Andrews, which probably 
ceased before 1790. Werner's Dances for 1783-5 bear their 
names. 

It is unfortunate that I cannot fix more definite dates for 
the above, but prior to 1792 the directories are silent regarding 
Birchall, and absolutely the first notice of him I have yet found 
is a proposal dated June 22nd, 1783, (given in Burney's Handel 
Commemoration, 1785) for publishing a complete edition of 
Handel in 80 folio volumes. 

The following is part of the proposal : — "June 22nd. 
1783, Handel's Music. Proposals for printing by subscription 
by R. Birchall (from the late Mr. Randall's, Catherine Street), 
No. 129, New Bond Street. Complete scores of all the com- 
positions of G. F. Handel, not hitherto perfected The 

whole of which is computed to make about eighty folio volumes 
containing one with another near one hundred and fifty pages 

each Subscriptions received by Birchall at his music shop 

No. 129, New Bond Street, London." Whether this scheme 
so far as as Birchall was concerned fell through or not I can- 
not tell, but about 1786 Dr. Samuel Arnold either alone or in 
conjunction with Birchall proposed a similiar edition which 
was carried through to the extent of about forty volumes in 
large folio. 

As before said, after a partnership with T. Beardmore, 
came Birchall & Andrews with publications of dance music 
in oblong quarto, but this is by no means a very frequent 



10 

imprint, and the firm cannot have lasted much above a year or 
so. The Directory in 1792 gives its first notice of Birchall 
and from it we learn that his address is now 133, New Bond 
Street, instead of the previous No. 129. This new number 
holds good till 1823-4, when as Birchall, Lonsdale and Mills 
the firm is given as at 140 in the same street. These premises 
are now occupied by W. E. Hill & Sons, the celebrated 
violin makers and experts. In the first part of his business 
career Birchall adopted the sign " The Handel's Head," 
and I am indebted to Mr. Barclay Squire for pointing out 
that the original bust held, till a late period, a place over the 
shop front. 

After his partnership with Andrews, Birchall appears 
to have pushed his business forward vigorously and 
to have established an extensive musical circulating library, 
rapidly coming to the front as a publisher. About 
the end of the century he published a quantity of Italian vocal 
music, then in such great demand ; much of this is in oblong 
folio. A great number of glees, also appeared singly as well 
as in large collections — Horsley's and Callcott's, several books 
in oblong folio. 

He issued many single pieces of Handel's, and altogether 
a mass of sheet and other musical publications much too large 
to indicate. One of his series was a re-issue and a continuation 
of Campbell's "Country Dances and Strathspey Reels" in 
oblong quarto. This extended to at least the 27th book, 
circa 181 1. The set was originally commenced by Wm. 
Campbell, the music publisher, but Birchall acquired the 
plates. 

After making his business one of the largest of its kind in 
London, Robert Birchall died in 181 9. The firm now or 
shortly after (1821) became Birchall, Lonsdale, and Mills. In 
1830 it is Lonsdale and Mills, and before 1838 these two 
separate, C. Lonsdale going to 26, Old Bond Street, and R. 
Mills retaining the old address at 140. 

It is said that Samuel Chappell learnt the business with 
Birchall. 

C. 1783. Twelve Italian Canzonetts for the Voice and Harpsichord by 
John Burton, Op. III. London, printed for R. Birchall (from 
the late Mr. Randall's, formerly Walsh's in Catherine Street, 
Strand) and T. Beardmore, No. 129, New Bond Street, (over an 
earlier erased imprint). Folio. 

C. 1783. " Take O Take those lips away." (Sheet Song, same im- 
print.) 



11 

C. 1785. " XII Favourite Minuets for the Harpsichord or Pianoforte, 
composed by the celebrated Guiseppe Haydn, of Vienna." 
London, printed and sold by Birchall & Andrews, at 
Handel's Head, No. 129, New Bond Street, of whom may be 
had all the above author's works. Oblong 4to, 

C. 1785. " Ten Minuets Twelve Country Dances," performed at the 
Festino Rooms, Hanover Square. (Same imprint over an 
earlier one erased.) Oblong 4to. 

C. 1785. " Six New Minuets with three favourite cotillions." . . By 
Francis Werner, London, printed for Birchall & Andrews, 
No. 129, New Bond Street. Oblong 4to. 

C. 1790. " A Set of Glees . . with the Dirge in Cymbeline," . . by 
Maria Hester Park, printed for the author and sold at 
Birchall & Andrews music shop, No. 129, New Bond Street. 
Oblong folio. (Walter Ron<ley). 

Blackman, ^A/\ A Southwark music seller living at 
15, Union Street, who about 1810-15 
was in a small way of business and issued sheet music. This 
includes a "New and improved Edition of Popular Songs, price 
6d singly or 1/- per sheet," " Black Ey'd Susan," and " The 
Arethusa," being Nos. 4 and 6. His best known publication 
is "The Harmonic Cabinet or Kentish Harmony," or "The 
Harmonic Cabinet or Vocal Harmonist in Minature," or 
"Kentish Harmony," for editions appear under all these 
three titles. The book is a neat well engraved work in six 
small square shaped volumes. One edition bears the date 
1 82 1, and another, being later, instead of the Union Street 
address is " published by W. Blackman, Music Seller, 5, 
Bridge Street Borough " ; this is about 1832 in date. The 
Directories give him at this latter address in 1823, 1825, etc. 

Bland, Anne. There were two London music pub- 
lishers of this surname, John Bland, 
of Holborn, and the present. Anne Bland as " Music Seller, 
Oxford Street " is given in the Musical Directory for 1794, an 
excessively rare volume, which Mr. Arthur Hill kindly places 
at my service. Anne Bland was established at 23, Oxford 
Street prior to 1790, and issued sheet music and yearly sets of 
dances. In 1793 she went into partnership with Weller, and 
Bland & Weller remained the firm till 181 8, at which date 
Bland's name is absent either by death or retirement. From 1819 
to 1 82 1 the name given in the Directories is Weller & Co. ; 
it is not present in 1820. Bland & Weller did a rather exten- 
sive trade and published Hook's collections of Vauxhall Songs 
from 1793 till at least 1800, yearly books of Country Dances, 
and Sheet Music. They also re-issued a book of Scotch airs, 
originally published by James Oswald. In 1805 the firm pur- 



12 

chased from Charles Dibdin, who had got tired of his music 
publishing business, the copyright of three hundred and sixty 
songs together with his musical stock for the sum of £1800 
and an annuity of ^"100 for three years. These songs they of 
course re-issued. About 181 8- 19 on what may be presumed 
the death or retirement of Bland, J. Diether, a rising music 
publisher, bought many of the Dibdin copyrights and plates. 

C. 1790. Ah! Ca Ira. Dictum Populaire. . . . Chante a Paris.... Le 
14 Juillett. 1790. London, printed for A. Bland, 23, Oxford 
Street. (Sheet Song." 

T792. Twenty four Country Dances for the year 1792. (Same 
imprint starts at page 1 j showing there must have been a 
set for 1791). 

1793. A Collection of favourite Songs.. Sung at Vauxhall, Com- 
posed by Hook. A. Bland & Weller, 23, Oxford Street. 

1795, 1799, 1800. Ditto, each with an engraving of Vauxhall. 

C. 1795. A Violin Tutor with same plate of Vauxhall. 

C. 1800. Bland & Weller's Collection of Waltzes and Scotch Reels. 
Oblong 4to. 

18 16. Twenty Four Country Dances for 1816. 

1819. Ditto for 1819. 

"A Collection of 43 Scotch Tunes with Variations.... 
Dedicated to the Earl of Bute, by James Oswald. London, 
printed and sold at Bland and Weller's Music Warehouse, 
23, Oxford Street. Folio. 

"Bland and Weller's Pocket Companion for the German 
Flute." Oblong i2mo. 

Bland, John. 45> Holborn, probably a brother or 
other relative of the preceding Anne 
Bland. He became one of the important music sellers of 
London. The earliest date I can find for his publication is 
" August 24th, 1779," etched with his name and address under 
a vignette heading to a sheet song. He early commenced to 
print the popular English Operas in oblong folio, with smaller 
editions in oblong quarto, arranged for the flute or violin. 
These, with their songs printed singly, include "The Spanish 
Barber," acted 1771 (printed 1781); "The Agreeable Sur- 
prise," 1781 ; "The Poor Soldier," 1783, etc. He also issued 
a great number of catches and glees, separately published, as 
well as in collections. Among these two folio gatherings, 
considerately assorted into the " Ladies' Collection," and the 
" Gentleman's Collection." The songs of Handel, possibly 
from the plates of Walsh and Randall, and miscellaneous 
sheet songs also bear his imprint. In 1787 he was com- 
missioned by several gentlemen to seek out Haydn in Vienna, 
with a view to bringing him over to England. Here he is 



13 

said to have been the hero of the Razor quartette incident, 
which, without a guarantee of its truth may be briefly told as 
follows : — Bland found Haydn, shaving and cursing the fates 
which had only provided him with a continental razor. The 
musican swore he would gladly give his best quartette for 
a pair of good English made implements. Bland accepted the 
offer at once and produced his own set to the satisfaction of 
composer and publisher. Haydn came to England in due 
course, and was for a period a guest of Bland's over the music 
shop in Holborn. 

John Bland must have died or ceased business in the latter 
portion of the year 1794. His name did not drop out of the 
London Directories for 1794, though it is absent from the 
Musical Directory the same year and the ordinary London ones 
after 1795. His business premises passed into the hands of 
" Lewis Houston and Hyde," and then into those of F. Linley, 
both of whom proclaimed themselves "successors to Mr. 
Bland, 45, Holborn." It is rather difficult to settle which had 
the priority, but neither can have held any length of time. 
William Hodsoll, who in 1794 was a music seller at Seven 
Oaks, in Kent, came to the front, and before 1800 was estab- 
lished in Bland's old shop, which he held till at least 1830. 
In 1840 Zenas T. Purday was owner. 

1779. " The good subjects of old England in Glee" [a vignette of 
a drinking party; underneath is faintly etched "1779, pub- 
lished August 24th. J. Bland, 45, Holborn." Sheet song in 
the British Museum.] 

1787, etc. " The Gentleman's Collection of Catches," selected by 
John Bland (one number dated Jan. 1st, 17S7). Several 
books. Folio. 

C. 1787, etc. " The Ladies' Collection of Catches, Glees, Canons" . . . . 
Selected by John Bland. At least twelve books. Folio. 

" Webbes 5th, 6th, and 7th collection of Catches and Glees." 
Oblong Folio. (Welcker published the 4th and F. Linlev 
the 8th). 

" Danby's collection of Glees, etc." Many of the Operas of 
the day in oblong folio and quarto. 

Bllindell, Tames. Was established at no, St. 

Martin's Lane, about or before 
1778. On some of his imprints he states that he is son-in-law 
and successor to the late Mr. Welcker, of Gerrad Street, Soho. 
He removed near the end of the year 1780 to 10, Haymarket, 
a shop up to that time occupied by his brother-in-law, John 
Welcker, and became music seller to his Royal Highness, the 
Duke of Cumberland. He published sheet music in limited 
quantity and instrumental works, also continued the series of 



14 

Opera Dances danced at the Haymarket, commenced by the 
Welckers. I have not found a later date for him than 1782, 
about which year his business must have come to a conclusion. 

C. 1778. Overture of the celebrated C. Vanhall. J. Blundell, no, 
St. Martin's Lane. 

C. 1778. Six Sonatas.. for the harpsichord or pianoforte .... By 
Jacob Kirkman, printed and sold by James Blundell, no, 
St. Martin's Lane, son-in-law and successor to the late Mr. 
Welcker, Gerrard Street, Soho. Oblong folio. 

C. 1779. Warren's Glees, 17th collection. (Same address). 

1780. Ode in honour of Earl Cornwallis' Victory over General 
Gates.. 16th August, 1780, J. Blundell, 10, Haymarket. 

1 78 1. The Celebrated Dances performed by the Messrs Vestris 
and at the King's Theatre, Haymarket. 1781, composed by 
G. B. Noferi, Book 1, printed and sold by James Blundell, 
music seller to his Royal Highness the Duke of Cumber- 
land, 10, Haymarket. Oblong 4to. 

1782. Blundell's Dances for 1782. 

Boag, W. His address was No. 11, Great Turnstile, 
Lincoln's Inn Fields, and he proclaimed 
himself "a purveyor of cheap music." He published a 
quantity of sheet songs, principally Scotch, and was in business 
probably from about 1790 to about 1825. His name is not in 
the Musical Directory for 1794, but in the London ones for 
1796 to 1799. His music is rather coarsely but boldly 
engraved. 

C. 1790. " Of a' the airts' the wind can bla\v"....by the celebrated 
Robert Burns, printed and sold by W. Boag at his Cheap 
Music Shop, No. n, Great Turnstile, Lincoln's Inn 
Fields. 

C. 1790. "O Say Simple Maid,'' "The Wounded Hussar," and 
other sheet songs. 

C. 1795. A Choice Selection of Ancient and Modern Scotch Songs.. 
Selected from the celebrated poets, Ramsay, Burns, etc. 
London (same imprint, pp 3S, folio). (Taphouse.) [This is 
merely a re-issue with a title page of his single sheet and 
half-sheet Scotch songs.] 

C. 1825-6 Overture to Harlequin and Oberon, by the late Mr. Wm 
Reeve. London: W. Boag, n, Great Turnstile. Folio. 
[Acted 1796: Reeve died J815 : water mark of paper of this 
copy 1825.] 

BOW Church Yard. A printing and publishing office 

in the narrow thoroughfare 
running by the side of Bow Church, off Cheapside. It was 
held by Cluer in 1720, and afterwards by Dicey. Some im- 
prints bear the date 1738. Ballad sheets and broadsides were 
printed here as well as engraved music. I am in possession 






15 

of several early ballads "printed and sold in Bow Church 
Yard, London," and a small volume " Directions for playing 
the Flute" is " Engraved, printed and sold at the printing office 
in Bow Church Yard, London, where books of instructions for 
any single instrument may be had." In the present century, 
1838, Messrs J. J. Ewer & Co., the importers and printers of 
foreign music, were established in Bow Church Yard. For 
further details see " Cluer " and " Dicey." 

Bown, G. W. II ? St. Martin's Church Yard, a music 
seller who issued a few sheet Scotch 
songs and several small and unimportant collection of airs for 
the violin or flute, about the years 1820-26. On one of his 
works he makes the statement " Late of H.R.H. Duke of 
Gloucester's Band." He published an annual collection of 
twenty four " Popular Country Dances" in oblong 8vo ; that 
for 1826 is in my own library. Another work under his 
editorship was published by J. Reynolds, 174, Strand, and 
entitled " The Amateurs' Flute Companion," in at least five 
volumes in small quarto. 

Branston, R. A music engraver, whose imprint is 
found on a sheet song from Michael 
Kelly's opera" Of Age To-morrow," acted in 1805. 

"The Wife's Farewell or No my love no Engraved and 

printed for the author by R. Branston, China Row, Lambeth, 
and to be had of Mr. Kelly, No. 9, Lisle Street, Leicester 
Square, and at all the music shops." 

Bremner Robt. A music seller originally settled in 
Edinburgh, who came to London 
and established a large and important business. Mr. John 
Glen, in his very valuable work " The Glen Collection of 
Scottish Dance Music" 1891 gives, among his biographical 
notices, some interesting particulars of him from original 
sources. 

The first mention which Mr. Glen finds of Bremner is 
in connection with a concert which he gave on the 13th Dec, 
1753, in the High School of Leith, and the next an advertis- 
ment bearing date July nth, 1754, showing that Bremner had 
a music shop "at the sign of the Golden Harp" in Edinburgh. 
Mr. Glen further points out that he came to London in 1762, 
a date earlier than has been before mentioned for this circum- 
stance. Bremner's London establishment was "at the Harp 
and Hautboy, opposite Somerset House in the Strand " — no 
number being given. He had, while in Edinburgh, adopted 
the same sign and this combination of musical instruments had 



16 
more than a hundred years previously held position over a 
shop which must have been upon practically the same site, for 
the label of John Shaw, a violin maker, is "at the Goulden 
Harp and Hoboy nere the Maypole in the Strand, 1656." 
Walsh had also used the same sign within a few steps of 
Bremner's place, but before the Scotchman's arrival had 
omitted it from his imprints. Bremner's London trade quickly 
became extensive, and besides the re-printing of his Edinburgh 
works he published a quantity of what was esteemed the best 
music of his day. He was himself the author of a very 
popular little treatise " The Rudiments of Music," which 
having had two Edinburgh editions dated 1756, and 1762, was 
issued again with his London address in 1763. Besides 
Scottish music in collections, half sheet Scotch songs are 
found bearing his initials and his name is attached to a vast 
quantity of instrumental music by English and foreign com- 
posers. He became the owner too of Pasquaili's " Art of 
Fingering the Harpsichord," and the same author's "Thorough 
Bass," works held at one time in the greatest esteem. He 
early became possessed of some of the original plates engraved 
for John Simpson and re-published "The Delightful Pocket 
Companion for the German Flute" and "Thesaurus Musicus." 

It is recorded that in 1762 Bremner bought from Dr. 
Pepusch's library for 10 guineas the celebrated early manu- 
script known as Queen Elizabeth's Virginal book and made a 
present of it to Lord Fitzwilliam ; it is of course now at Cam- 
bridge. 

Bremner's publications are always distinguished for 
excellent engraving and printing; the paper is thick and strong 
and where type letterpress is introduced, as in his " Rudiments 
of Music," and his " Instructions for the Guitar," etc., the 
character is so neat and clear, and in a style peculiarly his 
own that it is unmistakeable. 

Bremner died, presumably, at his country house, for under 
the heading May 12th, 1789 his death is recorded in the 
" Gentleman's Magazine " thus : — "At Kensington Gore, Mr. 
Bremner, music printer in the Strand." 

Bremner had no successor at his shop in the Strand, for 
Preston & Son bought the whole of his stock-in-trade and 
re-issued such as were still saleable ; his Scotch music, which 
was in great repute, especially. 

One of Preston's announcements regarding this purchase 
is given on the sheet song "Poor Jack": — "That having pur- 
chased the entire stock-in-trade of that extensive publisher and 
dealer the late Mr. Bremner, Strand, facing Somerset House, 



17 

consisting of the celebrated vocal and instrumental works of 
all the most eminent composers ; they are now reprinting the 
same and will have shortly ready for delivery, new editions of 
all those truly elegant, admired, and classical productions, as 
also a complete catalogue containing two folio sheets particu- 
larising the different authors, with the various species of com- 
position, the whole forming, not only the most extensive, but 
the most valuable list of work ever exhibited in this kingdom - " 
I am in possession of one of these catalogues, dated 
1790, and it appears to give a pretty complete list of Bremner's 
publications. They occupy seven closely printed quarto pages 
A few works bearing Bremner's London imprint may be here- 
mentioned ; of some of these there are early Edinburgh 
editions : — 

The Rudiments of Music, by Robert Bremner, third edition, 

1763, i2mo. 

Thorough Bass made Easy, — Pasquali. Oblong folio. 

Art of Fingering the Harpsichord, — Pasquali. Oblong 

folio. 

The Harpsichord or Spinnet, Miscellany. Oblong folio. 

Thesaurus Musicus. Two volumes. Folio. 

Delightful Pocket Companion for the German flute. 2 vols., 
8vo. (This and the previous one were re-printed from 
Simpson's plates). 

Thirty Scots Songs, (and a Second Set). Folio. 

A Curious Collection of Scotch Tunes. Oblong folio, 

Twelve Scots Songs for a Voice or Guittar. Folio. 

Instructions for the Guitar. Oblong 410. 

A Collection of Scots Reels or Country Dances, and a 
Second Collection. Oblong 4to. 

A Collection of Scots Tunes by Wm. McGibbon (a re-print 
from the original work). 3 books, oblong folio. 

A Collection of Scots Tunes by McGibbon, with additions 
by R. Bremner. Oblong 4to. 

Freemason's Songs. Folio. 

Adam Craig's Collection for the Harpsichord. Oblong 

folio. 

Operas :— The Maid of the Mill ; The Rival Candidates ; 
Beggar's Opera, Daphne and Amintor ; Love in a Village ; 
and several others. Oblong folio. 

Preston's list gives also the following ; copies of which I have 

been unable to trace : — 

Caledonian Country Dances, 2 vols.; Choice Minuets, 2 vols. 
Country Dances, excellent, 8 vols. ; Jigs and Hornpipes, 2 
books; Philpot's Dances, Rigadoons, etc.; Valentine's 
Dancing Master, 2 books; Spanish Reels; etc., etc. 
Oswald's Caledonian Pocket Companion, 12 books. 



18 

The dances named above point to being from the plates engraved for 
John Johnson, of Cheapside, who issued Country Dances, Caledonian 
Country Dances, and Philpot's Dances. 

Bremner's bibliographical list could be extended to many pages 
of the present volume, as he published a great deal of instrumental 
music, Concertos, Solos, Sonatas, etc. It might also include his Italian 
operas and his English vocal music. In Presion's list many of these 
latter pieces may be recognised as having been originally John Johnson's 
stock. 

Bride, Richard. Had a shop in Exeter Change about 
1775, and published some half-sheet 
songs, generally only to be identified by the initials Rd. Be. 
His songs were mostly those sung at a second rate Vauxhall, 
called Finch's Grotto Gardens. These gardens were estab- 
lished near the year 1761, and existed till the beginning of the 
century. They were situate near the King's Bench prison, 
and were on the site now occupied by the Borough Road 
Station. Bride was the composer and publisher of a once 
popular hunting song " Sung by Mr. Dearl at the Grotto 
Gardens, set by Rd. Bride — Hark, hark, the joyous inspiring 
horn — ." Another is "The Span, sung by Mr. Dearl, at 
Finch's Grotto Gardens, the words by Mr. Oakman, set by 

Mr. Bride Printed for the author at his music shop in 

Exeter Change, Strand." 

Briscoe, Samuel. Published "The Songs to the 

new play of Don Quixote, as they 

are sung at the Cjueen's Theatre in Dorset Gardens. Part the 

first Written by Mr. D'Urfey, London, printed by J. 

Heptinstall, for Samuel Briscoe, at the corner of Charles 
Street, Covent Garden, 1694." Folio. 

Broderip & Wilkinson. Broderip, who was with- 
out doubt Robert Brode- 
rip, the musician, organist at Bristol, and son of John 
Broderip, of Wells, had been partner in the great firm of 
Longman and Broderip, which came to grief some time about 
1798. This firm had two places of business, one at 26, 
Cheapside, and the other at 13, Haymarket. Longman 
founded another business at the Cheapside address, while 
Broderip entering into partnership with Wilkinson took over 
the Haymarket premises. Broderip and Wilkinson are first- 
named in the Directory for 1799 and retain a place till 1808. 
In 1809, the firm is set down as Wilkinson & Co., and it 
seems evident that Broderip was dead; after 1 810 this disap- 
pears. 



19 

The following extract (kindly forwarded by Mr. F. G. 
Edwards) from the "Morning Chronicle," of January nth, 1811, 
proves that Wilkinson & Co. did not remain long in existence 
after the death of Brodenp, and also shows what became of 
the stock and plates: — "T. Preston, 97, Strand, acquaints 
amateurs, etc., that he has just purchased the entire stock, etc, 
of Wilkinson & Co., late Broderip & Wilkinson, of the Hay- 
market." 

Robert Broderip, born at Wells in 1750, died May 14th, 
1808, at Bristol, the year which tallies with the absence of the 
name from the music firm, affording considerable confirma- 
tion that he was the senior partner in it. 

Broderip & Wilkinson did not hold a very large business, 
publishing principally sheet music, with an occasional tutor 
for the harpsichord, violoncello, etc. One piece of sheet 
music is a rondo on the air, "If a body meet a body," by 
Robert Broderip, and some glees taken from Scott's poetry, 
by Dr. Clarke, of Cambridge, are among music issued 
by "Wilkinson & Co., late Broderip & Wilkinson." 

Brome, Henry. A bookseller, who, in 1667, lived in 
Little Britain, but who had in 1678 
removed to the sign of the "Gun, near the West-end of St. 
Paul's." Christopher Simpson's Compendium of Practical 
Music, 1667, is printed by William Godbid for him at the 
former address, and another edition, 1678, of the same book, 
bears his name at the latter. He also published New Ayres 
and Dialogues for Voices and Viols, by John Banister and 
Thomas Low, dated 1678. This is "imprinted by Andrew 
Clark." 

Browne, John. An early seventeenth century book- 
seller, for whom (sometimes in con- 
junction with others) many madrigal and other musical books 
were printed. These extended from 1609 to 1622, after which 
date A.B., who may be his son, appears to hold place. His 
shop was in St. Dunstan's Church Yard, and many printers 
printed for him. One of his books has the following title: — 

1613. Songs of Mourning, bewailing the untimely death of Prince 
Henry, worded by Tho. Campion, and set forth to be sung 
with one voyce to the Lute or Violl by John Coprario. 
London, printed for John Browne, and are to be sould in St 
dunstan's Church Yard, 1613. Folio; music type, (Taphouse). 

Browne, John. A musical instrument maker, music 

seller and publisher, who about 

1727-30 living at the Sun in Cornhill, from here issued a small 

volume entitled "The Opera Miscellany being a pocket collec- 



20 

tion of songs chiefly composed for the Royal Academy of 

Music, containing select airs in Rodelinda Julius Caesar 

Printed and sold by John Browne, musical instrument maker, 
at the Sun in Cornhill." (Sir John Stainev's Catalogue of Song 
Books.) 

Later (in 1 743) he had removed or altered his sign to the 
Black Lyon, still in Cornhill, where he made fiddles. Mr. 
Arthur F. Hill has an early and curious trade card of his : — 
" Made and sold by John Browne, musicall instrument maker, 
at the Black Lyon, over against the Royal Exchange in 
Cornhill, London, where you may be furnished with all sorts 
of musicall instruments, as Violins, Bass Viols, Hoboys, 
Flutes, etc. ; printed books of tunes, with directions for 

learners At the same place you may hear of a Master for 

any instrument now in use." 

Browne, Daniel. A bookseller, whose name, with 

another, appears on a book 

printed in 1740. He lived at the Black Swan without Temple 

Bar, and in 1749 published a small octavo book, with the 

music from moveable type, entitled "An Antidote against 

Melancholy, being a collection of four score Merry Songs 

Never before set to music, 1749." 

Brown, Robert. Lived in Windmill Court, Pye 
Corner, and printed from moveable 
type an octavo volume of Anthems, composed by Josiah 
Street, the second edition dated 1746. 

Bryan, F. He published about the year 1805 several 
sheet songs, one being: — "The Maid of 

Woburn Composed by M. A. Bryan, the words by F. 

Bryan, printed and sold by F. Bryan, 36, Southampton Row, 
Bloomsbury ; of whom may be had, The Bilberry, a pathetic 
ballad, and Roxalana, both sung at the nobility's concerts by 
Miss Richardson." 

Buckland, J. Printed and published several volumes 
of engraved sacred music, one being 
dated 1762 — "A Book of Anthems, &c, compiled by C. Ash- 
worth. London, printed and sold by J. Buckland, at the 
Buck, in Paternoster Row, 1762," oblong 4to. The music is 
engraved, and signed Wm. Smith. Another is "Eight 

Anthems on various occasions By Joseph Key, 2nd edition 

printed for and sold by the author, at Nuneaton in Warwick- 
shire ; sold also by Messrs. Thompson, 75, St. Paul's Church 
Yard ; Mr. Buckland, 57, Paternoster Row ; and the engraver, 
at 48, Holborn," folio. 



21 

Butt Richard. Printed from music type in 1694 tne 
following : — " A Collection of one 
hundred and eighty Loyal Songs, all written since 1678 and 
intermixt with several new Love Songs... 4th edition, London, 
printed and are to be sold by Richard Butt, in Princess 
Street, in Covent Garden, 1694." i2mo. {Taphouse.) 

Button & Whitaker. These were successors to 

the famous Thompson family 
of 75, St. Paul's Church Yard, and they carried on their busi- 
ness at the same address. After the Thompson's had ceased, 
Messrs Purday & Button took possession of the premises, and 
sometime about 1805 commenced publishing sheet-songs. 
Many have the last date engraved on them. In 1807 the 
names are transposed into Button & Purday, and in 1808 the 
firm stands as Button & Whitaker. The latter member was 
the musician, John Whitaker, an organist, and a composer of 
many popular songs, and of some of the music in "Guy 
Mannering." Whitaker was born in 1776 and died in 1847. 
Before 181 6 other persons joined the concern and it became 
"Button, Whitaker, & Beadnell," or "Button & Company," 
and in 1820 the business is carried on as Whitaker & Co. 

I have not been able to ascertain when the old premises 
in St. Paul's Church Yard ceased to be a music warehouse, 
but it was probably after 1830. 

Button & Whitaker had acquired all the Thompson plates 
and stock-in-trade, and they re-printed a good many of the old 
books, besides issuing a quantity of new publications. Among 
these reprints are "Apollonian Harmony," a collection of 
glees, etc., in six volumes, large octavo, and a small oblong 
collection of "Favourite Marches for two flutes or fifes," two 
volumes, small oblong. They continued Thompson's yearly 
sets of twenty four country dances, but I have seen none of 
these collected into volumes of two hundred as in the case of 
Thompson. They published a gathering of Sacred Music 
compiled by John Whitaker, and extending to two volumes 
— "The Seraph" — the first volume dated 1818; it was after- 
wards re-printed by Jones & Co. Another series, in small 
oblong," is the "Musical Cabinet," reaching to at least 22 
volumes. Sheet music came forth plentifully, very neatly 
engraved, r frequently with a line, having ornamental corners 
round eacH page. 

Cahusac, Thomas. Was at the sign of the "Two 

Flutes and Violin, opposite St. 
Clement's Church in the Strand," as early as 1755. I am 



22 

indebted to Mr. Barclay Squire for this record of him, as well 
as for drawing my attention to his obituary notice. Cahusac 
was a maker of violins and flutes, besides being a music seller 
and publisher. In Eastcott's Sonatas, dated 1773, Mr. 
Cahusac, Strand, is put down for several copies, and this name 
at 196, Strand, is in the London Directories from 1784. The 
Gentleman's Magazine gives a notice of his death as follows : 
"May 18th, 1798, Mr. Thomas Cahusac, senior, of the Strand, 
the oldest musical instrument maker in and near London." 
He had two sons, W. M. Cahusac and Thomas, who were 
in partnership with him before 1798. It appears as if the son 
Thomas was in business on his own account before this date 
for a sheet song in the British Museum, which is, after 1782, 
but contained in a volume bound in 1790 has the imprint 
" Thomas Cahusac, at his music shop, Great Newport Street, 
near Long Acre. In 1799 the two brothers are in partnership 
at 196, Strand, but in 1802, the directory shows that while 
W. M. retains the old premises, Thomas has again set up for 
himself and is at 41, Haymarket, as musical instrument maker. 

Before 1814 the Strand premises are given up and W. M. 
Cahusac is at 79, Holborn, and is here till 181 6. 

In 1829 I find a record of William Cahusac, a musician, 
living at Bexley, Kent. 

Thos. Cahusac published, in conjunction with J. W. 
Lintern, a music seller, of Bath. They printed a series of 
Country Dance books in oblong octavo, and another series of 
small oblong volumes of airs for the German flute, in at least 
twelve volumes. Sheet music also bears their imprint. 

1785. Twenty-four Country Dances for the year 1785.... T. 
Cahusac, 196, Strand, and Messrs. Ludlow & Wainwright, 
Manchester. Oblong 8vo. 

1788-94. Ditto for 1788-90-91-92-93-94. .. .Thos. Cahusac, 196, 
Strand. 

1798 Ditto for 1798. . . .Cahusac & Sons, 196, Strand. 

1799. Ditto for 1799. ...T. & W. M. Cahusac, 196, Strand. 

1800 Twelve for 1800. 

1814. W. M. Cahusac's Annual Collection of twelve country 
dances, for 1814. . . .79, Holborn. 

Cahusac's Pocket Companion for the German Flute or 
Violin .... W. M. Cahusac, 196, opposite St. Clement's 
Church, Strand. Small oblong, vols. 9, 10, 11, 12. 

C. 1785. The Broom of Cowdenknowes. . . .Sung by Mr. Tenducci, at 
the Pantheon and Mr. Abel's Concerts. The instrumental 
parts by the late celebrated Mr. Bach. London, printed and 
sold by Thomas Cahusac, at his music shop, Great Newport 
Street, near Long Acre. (Sheet song after 1782 and before 
1790.) 



23 

Campbell, William. A Scotch publisher, found at 

many different addresses during 
his business career; the first being 93, Berwick Street, Soho. 
This is on Werner's Dances for 1779. The address on the 
same for 1783 and for 1788 is at 11, New Street, Covent 
Garden, given also in the Directory for 1784 and 1787. About 
1790 he removes to 8, Dean Street, and before 1 810 he is at 4, 
Market Row, East Street, St. James's Market. In 1814 he is 
finally at 32, Dean Street, and probably died or ceased busi- 
ness about 1815 or 1816. 

His publications consist principally of minor books of 
dances, and include a series "Campbell's Country Dances and 
Reels," in oblong quarto. This runs to twenty seven books, 
and was re-issued, and probably continued from the 22nd 
up to this number by Robert Birchall. 

As before indicated he published many of Francis 
Werner's sets of Cotillions and Country Dances. Werner was 
a dancing master and master of the ceremonies at Almack's 
and the Festino Rooms. He lived at 6, Lower St. James' 
Street, Golden Square, in 1782 and died in the year 1787. 
Campbell, Fentum, Birchall, and Andrews, and others pub- 
lished his yearly books. 

Carey, Henry. The poet and author of "Sally in 
our Alley." He had a very slight 
musical education, but his ready wit and good ear enabled 
him to earn his living by the profession. He taught in private 
families and took to composition. His own setting of "Sally 
in our Alley," and "God Save the King," (if this may be 
granted to him), testify to his ability. Not unlike Charles 
Dibdin, he took to a periodical publication of his own songs 
and music ; there is an engraved half-sheet song, circa 1720, in 
the British Museum, which has the following title: — "Once 
for all, Harry Carey's general reply to the libelling gentry 
who are angry at his welfare. The words and music by Mr. 
Carey." The song begins, "With an honest old friend and a 
flask of old port." After the song comes: — "Mr. Carey, 
instead of being angry, humbly thanks those gentlemen who 
have rail'd him into so much business. His poems being now 
in the press he can publish nothing in the musical way till 
after Christmas, when, according to his old preface, he doubts 
not but to please his friends, to mortify his enemies, to get 
money and reputation. In the meantime, if a thousand libels 
come out against him he won't answer one; humbly hoping 
this reply sufficient by ye Author's order. Ingraved by T. 
Cross." Carey committed suicide in 1743. 



24 

Carpenter, James. He was Thomas Moore's first 

music publisher and limited him- 
self in this matter to the works of the poet, or those of Moore's 
personal friends. He was also a bookseller and ordinary 
literary publisher. His sheet music is especially elegantly 
engraved and printed on fine white paper, with broad margins : 
it is also remarkable for bearing engraved dates, generally 
1802 and 1803. He commenced in business with his brother 
at 14, Old Bond Street, about the year 1800, and the firm is 
for a year or so styled J. & T. Carpenter or J. Carpenter & 
Co. I find no music published by him after 1806, and in 1807 
Moore transferred this branch of his work to the brothers 
Power. Carpenter was, however, long after this date in busi- 
ness as an ordinary bookseller and publisher. 

Carr, John. A music seller with a shop "Near the 
Middle Temple Gate." He was a friend 
of, and had business relations with, old John Playford. A 
work said to be published by Carr in 1667 is "Tripla Con- 
cordia," advertised on one of Carr's publications of 1684. 
Another is " Melothesia, or certain general rules for playing 

upon a continued bass London, printed for J. Carr, and 

are to be sold at his music shop at the Middle Temple Gate, 
1673," oblong 4to. (Taphouse). On this he advertises: — "All 
sorts of books and ruled paper for musick ; Songs and airs 
vocal and instrumental, ready prick't ; Lutes, Viols, Violins, 
Guittars, Flagelets, Castinets, Strings, and all sorts of musical 
instruments are sold by John Carr, at his shop in the Middle 
Temple, London." Many other books have his name on the 
imprint, with the same address, the latest I have seen being 
"The Lawfulness and Expediency of Church Musick," a 
Sermon preached at St. Bride's Church in 1693. (Taphouse). 
In the fifth book of "Choice Ayres and Songs," folio, 1684, 
sold by John Playford and by John Carr, at their respective 
shops, Playford bids farewell to the public and mentions Mr. 
Carr as having assisted him in procuring songs from the 
several authors. He says that he will now leave his labours 
to be taken up by two young men, " my own son, and Mr. 
Carr's son, who is now one of his Majesty's Musick." 

Richard Carr, the son spoken of above, is found the 
following year, in conjunction with Henry Playford, on the 
title page of the " Theater of Musick," "printed by J. Play- 
ford for Henry Playford and R. C, are to be sold near the 
Temple Church, and at the Middle Temple Gate, 1685." 



25 

Caulfield, John & H. 36, Piccadilly. A family of 

music engravers, who also 
published sheet music and one or two musical works. The 
father to John Caulfield had been apprenticed to John Walsh, 
and had been employed in carrying proofs to Handel during 
the publication of his Oratorios. John Caulfield, the father, 
engraved Thomas Warren's second collection of catches and 
glees, published by Peter Welcker about 1770, as well as the 
fourth, published by Longman & Broderip. There is a very 
large single sheet having his name as engraver dated 1770, 
"A Cannon for 8 voices," devised and published by John 
Alcock, Doctor of Music, Lichfield. The Directory for 1802 
gives: — J. & H. Caulfield, music engravers and publishers, 
36, Piccadilly, and about this date I find several sheet songs 
bearing their names as publishers. 

About 1825 John Caulfield, of 7, Fountain Court, Strand, 
engraved and published a "Collection of Vocal Music in 
Shakespeare's Plays," two volumes, large octavo. He was 
still alive, aged 83, in the year 1857. 

Chappell & Co. The firm is said to have commenced 
in 1 81 2 at 124, New Bond Street, 
(premises which had been occupied previously by Goulding 
& Co.), with Samuel Chappell at its head and the two 
musicians, J. B. Cramer & Francis Tatton Latour, as 
partners. About 181 9 or perhaps a year or so later Cramer 
left, and in 1824 founded a business of his own, while in 1826, 
Latour did the same, taking 50, Bond Street, a shop almost 
opposite the old one. 

About this time Chappell formed another partnership, 
Chappell, Longman, & Bates, but this, though in existence in 
1829, ceased very quickly. G. Longman and Bates were 
musical instrument makers, who, in 1824, were at 6, Ludgate 
Hill. Bates is referred to in the present volume under his 
heading. 

S. Chappell published music under his own name at 135, 
New Bond Street. In 1830 Chappell is said to have bought 
Latour's business and had established himself on the latter's 
premises, No. 50, and was in business alone. He died in 
December 1834, leaving his widow and his two sons, Thomas 
and William, as his successors. 

About 1845 William Chappell, author of popular music, 
left his brother and became partner with Cramer & Co. The 
modern firm of Chappell is of course well known. 

Samuel Chappell published a vast quantity of sheet music, 
some of which is printed from a patent copper type, worked 



26 
off at twice, a process, which was in limited use about 1830-5. 
He acquired from Latour many, then valuable, copyrights, 
including the song "Meet me by moonlight alone," and 
others, by J. A. Wade, which had a popularity almost incon- 
ceivable at the present day. I have lengthv lists of his pub- 
lications, but these seem to be confined exclusively to sheet 
songs. 

Christmas, C. 36. Pall Mall, a music seller who 
published a " Selection of German 
Hebrew Melodies," folio. James Hogg, the poet, mentions 
in his autobiography that in 1815 he was employed to write 
verses for this work at the rate of a guinea a stanza. "It 
was published in a splendid style, price one guinea; but it was 
a hoax upon me for I was never paid a farthing." It seems 
to have been intended to run to some length, but only the 
first number or volume of eight airs appeared. A firm, 
Falkener & Christmas, succeeded Michael Kelly, at 9, Pall 
Mall. 

Clarke, Andrew. Printed Banister's "New Ayres 
and Dialogues," 1678, see Brome. 

Clarke, John. Published in 1655 an edition of 
" Parthenia, or the Mayden Head of 
the first musick that ever was printed for the Virginals," com- 
posed by three famous masters, William Byrd, Dr. John Bull, 
and Orlando Gibbons, gentlemen of his Majesty's Chappell, 
dedicated to all lovers of musick, printed for John Clarke, at 
the lower end of Cheapside, entering into Mercer's Chappell, 
1655, folio. A copy of this edition is in Mr. Taphouse's rich 
library. 

Clarke, John. A later publisher and possibly a son of 
the former. The present John Clarke 
lived at the Golden Viol in St. Paul's Church Yard. Some 
time before 1697, (probably about 1680). Jeremiah Clarke, the 
musician, who also lived in St. Paul's Church Yard and com- 
mitted suicide in 1707, may have been his son. 

Clarke published a quaint tiny oblong volume entitled, 

"Youth's delight on the Flagelet Sold by John Clarke, at 

the Golden Viol, in St. Paul's Church Yard, 9th edition," 
either not dated or date cut off. The nth edition, which 
bears the date 1697, was published in some part from the same 
plates by John Hare at the above address. Copies of these 
very rare books are in the British Museum Library, and I 
have to thank Mr. Barclay Squire for drawing my attention to 
them. 



27 

Clavel Richard. Printed from moveable type "The 
Psalter or Psalms of David, 

paraphrased into verse, s'et to new tunes, the 3rd edition 

By Richard Goodridge; London, printed for Richard Clavel, 
at the Peacock, at the west end of St. Paul's Church Yard, 
1685," 8vo. (Taphouse.) The 2nd edition was printed at 
Oxford in 1684. 

Clementi & Co. Muzio Clementi, the musician, was 
born at Rome in 1752, and came to 
England when he was a lad of fourteen or fifteen, under the 
patronage of Peter Beckford. He of course rapidly became 
famous by his performances on the harpsichord and the piano- 
forte, and by his compositions. He is said to have lost a large 
sum of money by the failure of Longman & Broderip, in which 
it seems he was a partner. About 1798-99, when Broderip 
had taken over the Haymarket shop Clementi entered into a 
new firm at 26, Cheapside (the original place of business) with 
John Longman, and for two or three years they traded under 
the style: — John Longman, Clementi & Co. In 1802-3 Long- 
man retired from this and set up for himself at 131, Cheap- 
side, leaving Clementi to enter into partnership with Banger, 
Fredk. Augs. Hyde, Fredk. W. Collard, and D. Davis. The 
business was carried on either as "Clementi, Banger, Hyde, 
Collard, & Davis," or "Muzio Clementi & Co.," or "Clementi 
& Co.." with the address 26, Cheapside. In 1806 and 1807 
they had additional premises at 195, Tottenham Court Road. 
They had bought all Longman & Broderip's plates and stock, 
and reprinted a great quantity of the music. 

In March 1807 they were unfortunate enough to sustain 
great loss by a fire, which destroyed ^"40,000 worth of property 
(see Grove's Dictionary), and must have greatly crippled the new 
firm. 

In 1 810 Hyde drops out and another Collard takes his 
place — "Clementi, Banger, Collard, Davis, & Collard." This 
remains till 1819, when Banger is absent — "Clementi, Collard, 
Davis, & Collard." In 1823 the partnership stands, "Clementi, 
Collard, & Collard," and after the death of Clementi as 
"Collard & Collard," under which title, having only very 
recently left the original Cheapside address, the firm stands at 
present. 

Clementi must, in his later years, have had little active 
interest in the business, and in fact from his constant visits to 
the Continent and his professional duties cannot ever have 
paid much attention to it. He seems to have retired to 



28 

Evesham, near Worcester, and died thereon March gth, 1832. 
He was afflicted with extraordinary absence of mind, and 
there are several anecdotes in this particular related of him. 

Clementi & Co. published a mass of sheet music and 
re-printed from Longman & Broderip's plates a number of 
the English Operas in oblong folio. Another reprint was 
"Catches, Canons, and Glees," in four volumes, oblong quarto. 
They made pianofortes, and their names are found stamped on 
violins, flutes, etc. 

Ciller, X. Established a printing office in Bow Church 
Yard, off Cheapside, probably before 1720. 
It is possible that the premises, before Cluer came, may have 
been occupied by a ballad and broadside printer, and it is also 
likely that he may have printed ballads before he entered into 
the music trade. He, at any rate, appears to have printed 
music from moveable type before using engraved plates. A 
curious half sheet song in the British Museum, printed from 
type, seems to be an early specimen of his work. The song 
commences " I am a merry fiddler," and is titled: — "No. 13, 
The Pedigree of a Fiddler," with the following announcement 
" For the future all the songs printed by J. Cluer, in Bow 
Church Yard, will be set to musick, and as he hath invented a 
new and quick way of doing the same in letterpress for the 
enlargement of musick, songs will now be sold by him at a 
much cheaper rate than usual, and he will publish monthly 
four new sorts," etc., etc. (B.M. G. 315). This proves, not 
only that shortly before its issue, Cluer printed songs without 
music, but also that he had made some improvement in the 
setting up or otherwise of music type. Many old ballads 
without music bear the imprint "Printed and sold in Bow 
Church Yard." About 1720 all Cluer's publications are from 
very neatly engraved plates, and in this style they continued 
till he ceased business. Some of his books are so beautifully and 
clearly engraved on copper as to excel all other works of the 
period. He became associated with a bookseller or a music 
dealer, B. Creake, at the Bible, in Jermyn Street, St. James', 
and many of his books bear this name in addition to his own. 
He seems to have made an attempt towards a collection of 
musical works, mostly the Italian Operas, in a small size, con- 
venient for the pocket, commencing with "A Pocket Com- 
panion for Ladies and Gentlemen." He says in the preface 
of the first volume " As all things of this nature that have 
appeared in the world have been generally of a size more 
adapted to a library than to accompany one abroad, we flatter 
ourselves with the hopes of a favourable reception for this 



29 

collection, the manner of introducing it being entirely new." 
A beautifully engraved opera in large octavo is Handel's 
" Julius Caesar." Handel, in his early period, seems to have 
had periodical squabbles with Walsh, and to have taken his 
works to Cluer and Meares for publication. "Julius Caesar " 
is one of these. Cluer, in the "Pocket Companion" quoted 
above, mentions that "The Proprietors of this book will 
speedily publish, in a neat octavo size for the pocket, that 
celebrated opera of Julius Caesar, they having a grant for the 
sole engraving, printing, and publishing the same. To which 
will be added the overtures of all Mr. Handel's Operas. And 
they further give notice that they will in a little time publish 
in a neat octavo size, curiously engraved on copper plates, a 

monthly collection of new songs, with a thorough bass" 

Cluer printed other operas by Handel in folio. He, or his 
successor Dicey, planned a series of instruction books, octavo 
in size, edited by Peter Prelleur, and collected into one volume 
with the title, "The Modern Music Master." He published 
as late as 1729-30, when he was followed by W. Dicey, who 
in turn gave place to T. Cobb. 

1718-20. The King's Health, set to Farinel's Grounds by Mr. 
D'Urfey (Joy to Great Caesar, etc.) ; A drinking song for 
two voices, by Mr. Carey (Here's to thee my boy) ; The 
Fair Olinda, and many other engraved half sheet songs, in 
the author's possession, bearing Cluer's imprint. 

C. 1720. A choice collection of Psalm Tunes, Hymns, and Anthems. . 
by William Anchors. .. .Engraved and printed at Cluer's 
Printing Office, in Bow Church Yard, Cheapside, London, 
where all manner of business is printed, and all sorts of 
copper plates curiously engraved Oblong 8vo. 
(With the date 1722 and owner's name stamped on binding). 

C. 1725. A Pocket Companion for Gentlemen and Ladies, being a 
collection of the finest opera songs and airs. . . .By Richard 
Neale. Small 8vo. A second volume followed later. 

Medulla Musicae, being a choice collection of airs.... In 
two volumes London, engraved and printed at Cluer's 
Printing Office, in Bow Church Yard, and sold there and by 
B. Creake, at the Bible in Jermyn Street, St. James'. 8vo., 
2 volumes. (Taphouse). 

The First and Second Packs of Musical Playing Cards, each 
card containing a diverting song, and transposed for the 
flute. (These are advertised on one of Cluer's publications. 
A set, which has every appearance of being one of these 
packs, is among the playing cards in the British Museum). 

Operas: — Julius Caesar, Tamerlane, Rodelinda, Scipio, Alexander, 
Richard the First, Admetus, Siroe, and Lotharius (in folio). 
Julius Caesar, Tamerlane, and Rodelinda, transposed for the 
flute in octavo. 



30 

Twelve overtures i n four parts by Handel. Bononcini, &c 

A Book of New Minuets and Rigadoons. 

These two last are advertised in some of Cluer's works : I have not 
seen copies. The opera Lotharius was perhaps one of Cluer's latest 
publications. Julius Caesar is beautifully engraved in octavo, and sold 
by Cluer and B. Creake : the patent right granted to Handel is dated 
1720. A copy is in Mr. Matthews' library. 

Most of the other operas in folio have richly engraved title pages. 
The small volume" Pocket Companion for Gentlemen and Ladies" has a 
charming frontispiece. 

Cobb, Thomas. Closely succeeded Cluer at the Bow 

Church Yard office (see previous 

article), but was, however, preceded by, apparently, W. Dicey. 

Cobb probably published about the years 1734-38. He 

removed to the Apollo in Silver Street, near Cheapside. 

C. 1734. Suites de pieces pour le clavecin. .. .J. C. Smith. London, 
printed .or, and sold by the author in Meard's Court, near 
St. Anne's, Soho, by Thos. Cobb, at the engraving and 
printing office in Bow Church Yard, where all manner of 
business is curiously engraved and printed. Oblong folio. 
(Taphouse.) (Among the subscribers are Mr. Burk Thumoth, 
Mr. John Walsh, 12 books, Dr. Pepusch, Henry Carey, and 
G. F. Handel. The second book was published by Walsh) 

C. 1734 XII Sonatas for 2 violins. . . .by J. S. Humphries. . . . London, 
printed for the author and sold by Thos. Cobb, at the 
engraving and printing office in Bow Church Yard. Among 
the subscribers are Mr. Burk Thumoth, junr., Peter 
Prelleur, and Rd. Neale. Copy in the British Museum, 
title kindly forwarded by Mr. Alfred Moffat. 

Cobb & Watlen. i9> Tavistock Street, Covent 

Garden. The Watlen was 

possibly Mr. John Watlen who was at one time in business 

in Edinbnrgh. The earliest date I can find for this firm is 

among a list of booksellers selling a collection of Motetts or 

Antiphons by S. Webbe, large octavo, preface dated 

August. 1772. They seem to have engraved the book. 

A few years later is a piece of sheet music " Billy Taylor," 

a favourite song sung by Mr. Bannister, junior The music 

arranged and the last part by J. Watlen, London, printed by 
Cobb & Watlen, at their music repository and new subscrip- 
tion music library, No. 19, Tavistock Street, Covent Garden, 
where may be had every new musical publication, also a very 
grand assortment of pianofortes, and other instruments. 

At the above address their names occur in the directory 
for 1805, but I have not seen it in any other. In that for 1807 
J. Watlen is shown to be in business on his own account at 5, 
Leicester Place, Leicester Square. 



31 

Cocks, Robert, & Co. Robert Cocks is said by 

Grove's Dictionary to have 
commenced business in 1827, but, as he, in partnership with 
others, at 20, Princes Street, Hanover Square, advertised in 
the " Harmonicon " for 1823, this must be four years too late. 
Among their many early productions are oblong quarto books 
for the flute, arrranged by Charles Saust ; one is a selection 
from " Der Freyschutz " (numbered 54), and another (num- 
bered 55) is "A selection of original Scotch Airs," followed by 
another of Irish Tunes—" Two Hundred Irish Melodies, for 
the Flute, by J. Clinton," small 4-to. 

They rapidly pushed to the front and issued sheet music 
and important larger publications. Before 1845 they had 
removed to 6, New Burlington Street. 

Robert Cocks died April 7th, 1887, aged ninety. He had 
been a man of extreme energy. Their publications prior to 
1887 are said to have numbered more than sixteen thousand, 
which include many very valuable treatises. 

Cole, Benjamin. An engraver of music and an 
illustrator. He engraved the music 
to the " Dragon of Wantley," published by John Wilcox in 
1738, quarto. In 1739 he engraved and published on his own 
account a large folio work, similar in style to, and rivalling 
Bickham's " Musical Entertainer," this is: — " British Melody, 

or the Musical Magazine Printed for and sold by the 

proprietor, Benjamin Cole, engraver, at ye Corner of King's 
Head Court, Holborn, 1739," folio. He engraved the music 
with the pictorial headings on the music sheets issued monthly 
with the "New Universal Magazine," 1750, 1752, etc., and 
his name, as " Mr. Benjamin Cole, engraver," is among the 
subscribers to a song book entitled " Puerilla," dated 1751. 

Cooke, Benjamin. At the Golden Harp, in New 

Street, Covent Garden, was in 
business as a music seller and publisher about the year 1730. 
He published instrumental music ; and a book of twenty-four 
country dances for the year 1738, is in the British Museum. 
The following extract from the life of Dr. Benjamin Cooke, in 
the manuscript of the doctor's son, belonging to Mr. Taphouse, 
will show he was father to the musician : — " Dr. Benjamin 
Cooke, the musician, was born in New Street, Covent Garden, 
about 1734, where his father kept a music shop," etc., etc. 
Besides the above I can give no satisfactory dates for Cooke. 
His publications are by no means plentiful, and they all seem 



32 

within a few years of each other. 

Mr. Arthur Hill possesses a curious trade card issued by 
Cooke, but it bears no date. 

De Fesch's Cauzonets. 

XII Solos for a German flute, with a thorough bass for 
the harpsichord .... by Mr Roseingrave, organist of St. 
George's, Hanover Square, folio. 

XII Concertos in 7 parts, for two violins. .. .by John 
Humphries, op. 2, folio. Ditto op. 3. 

1738. Twen*y-four Country Dances for the year 1738. .. .Note, 
the genuine dances will be published every year in this same 
volume and character. N.B. — There is just published 
Caledonian Country Dances. .. .Also the complete Country 
Dancing Master, in 3 volumes, printed for and sold by 
Benj. Cooke, at the Golden Harp, in New Street, Covent 
Garden, oblong 8vo. 

Cooper, J. A music engraver, printer, and music seller, 
who about 1790 was at 39, Whitcomb 
Street, near Coventry Street, Piccadilly. He published some 
instrumental sheet music — " An Overture for the Harpsichord 
— Signor Rosetti," and " A Periodical Sonata by Mozart," 
etc. He shortly afterwards removed to 7, Gerrard Street, 
Soho, 

Coote, T. At the King's Arms, in Paternoster Row, 
published a quarto work, " The Musical 
Magazine, by Mr. Oswald, and other celebrated Masters." It 
probably appeared in numbers, each containing letterpress and 
several engraved songs with music ; no date, but internal 
evidence shows it to be about 1761-2. Coote was also pub- 
lisher of an ordinary literary periodical called "The Royal 
Magazine" ; that for 1761 contains several of the airs given in 
the " Musical Magazine." I have seen no other work of his. 

Cope, W. Published sheet music. The earliest I have 
seen being a song relating to the French 
invasion of Ireland at Bantry Bay in 1796. 

C. 1796. The Peasant of Bantry Bay. . . .London, printed and sold 
by W. Cope, at his music and instrument warehouse, 22, 
Mount Street, near the Asylum, Westminster Road. 

C. 1805. The Cottage in the Dell, a favourite song by S. F. Rim- 
bault. Same imprint. 

Corbett Charles. A bookseller at "Addison's Head, 

Fleet Street," or " Within Temple 

Bar." In 1732 he printed (with engraved music) the ballad 

opera "The Devil of a Duke," octavo. His name as publisher 



33 

is attached to Bickham's Musical Entertainer, originally issued 
in 1737 and 1738. His name is found in the London Directory 
so late as 1759. 

Corri & Co. Domenico Corri was born at Rome in 
1746, or, as another account states, at 
Naples, in 1744. Becoming celebrated as a musician he 
settled in Edinburgh in 1771, and shortly after published an 
oblong quarto book, dated 1772 — "Six Canzones, dedicated to 
the Scots ladies." His younger brother, Natale Corri, also 
came to Edinburgh, and here the Corn's established a large 
music business, at first under the name of John Corri, and 
at another time in partnership with Sutherland. Corri & 
Sutherland came to grief about 1790, and near that year 
Domenico Corri had a small music shop at 67, Dean Street, 
Soho, publishing in conjunction with Corri & Co. in Edinburgh, 
a new firm probably controlled by his brother Natale (see the 
Edinburgh section of the present volume). 

In 1792, Johann Ludwig Dussek, the composer, married 
Domenico's daughter, and he, entering in with his father-in- 
law, they took an adjoining shop in Dean Street, and another 
in the Haymarket. Before 1795 the firm is Corri, Dussek & 
Co., 67 & 68, Dean Street, and 28, Haymarket. They issued 
a catalogue of their publications printed on the back of sheet 
music, bearing this date with the additional one, 1 796 ; their 
names appear in the directories for 1796 and 1801. In 1 800-1 
the firm had got into difficulties and Dussek is said to have 
fled to the Continent to avoid his creditors. In 1802 there is 
evidence that the business had been broken up, and that the 
Dean Street premises had been abandoned. The directory 
for 1803 gives — D. Corri, music and instrument warehouse, 
28, Haymarket — and shortly after this year, Domenico Corri 
retires and leaves the trade in the hands of his son, Montague, 
who was born at Edinburgh in 1785. The house now does 
business under the style " M. P. Corri & Co., late Dussek & 
Co.," and the directories for 1805 chronicle M. P. Corri. 
Hall, & Co. In 1806 it is Corri & Pearce, and about 1807-8, 
becomes Pearce & Co., all at the address 28. Haymarket. In 
many instances the imprints on music merely give the address 
28, Haymarket. This period of publication probably may be 
referred to the time when D. Corri, in monetary trouble, held 
the Haymarket shop after Dussek had gone abroad ; not 
unlikely during a financial winding up. 

Pearce & Co. in due course remove to 70, Dean Street, 
and ultimately to 24, Panton Street, Haymarket. 



34 

Corri & Co. published a great quantity of sheet music, 
vocal and instrumental. The latter included most of Dussek's 
pieces for the pianoforte. They also issued the operas, " Blue 
Beard," 1798; " Of age to-morrow," 1805; and "The Travel- 
lers," 1806; as well as single songs from them. All their 
work is disfigured by the use of a coarse blue tinged paper, 
with the engraving and printing by no means of the best. 

Cox, John. Succeeded John Simpson, of Sweetings 
Alley, near the Royal Exchange, at a 
business founded and carried on by John and Joseph Hare. 
Simpson probably died about the year 1747, and Cox held the 
premises for a short period after this event, using some of 
Simpson's old plates. 

Mr. Alfred Moffat kindly gives me the first two of the 
following titles : — 

C. 1748. Twelve Scotch and twelve Irish airs with variations, set for 
the German flute, violin, or harpsichord, by Mr. Burk 
Thumoth. . . .London, printed and sold by John Cox, at the 
Bass Viol and Flute, in Sweetings Alley, opposite the East 
door of the Royal Exchange, formerly Mr. John Simpson's. 
Where may be had two collections of the most favourite 
old and new Scotch tunes, several of them with variations, 
entirely in the Scotch taste, set for the German flute, violin, 
or harpsichord, in two books. The first book new engraved 
the size of the second ; with addition of several new airs with 
variations, dedicated to his Royal Highness the Prince of 
Wales, by Mr. James Oswald. New musick, vocal and instru- 
mental. 8vo. 

(This is a reprint from Simpson's plates ; other editions were 
at later dates, published by Henry Thorowgood and by the 
Thompson family. The above copy is in the Wighton 
library at Dundee.) 

C. 1748- A Sett of Familiar Lessons for the Harpsichord, by Thomas 
Vincent. .. .London, printed for John Cox, at Simpson's 
music shop, facing the East door of the Royal Exchange 
(with a protrait of Vincent, dated 1748 — British Museum). 

A Choice Collection of New Minuets, with their basses, as 
they are performed at all publick assemblies and entertain- 
ments ; set for the violin, German flute, or Hautboy. Book 
1st (same imprint as above). Svo. (Taphouse.) 

Cramer & Co. J onn Baptist Cramer was another of 
the many celebrated musicians who 
turned publisher. He was at first in partnership with Samuel 
Chappell, but about the end of the year 1824 entered into the 
business which, in a small way, had been carried on by Robert 
Addison and T. Frederick Beale. These, being first at 120, 
New Bond Street, had removed in 1824 to Regent Street, and 



35 

in their premises the firm commenced as Cramer, Addison, & 
Beale, 201, Regent Street. This remained without change 
till 1844-5 when Addison left and set up for himself, and 
William Chappell entered in his place. The firm now was 
styled Cramer, Beale, & Chappell, or Cramer, Beale & Co., 
and so till the death of Cramer in 1858 (born in 1771). 
Chappell soon after retired, and the business was now solely 
in the hands of Mr. Beale, who took into partnership Mr. George 
Wood, one of a family of Scotch music publishers. The house 
was now known as Cramer, Beale, & Wood, and in 1862 their 
address was 207 and 209, Regent Street, where they devoted 
most of their attention to pianoforte making and selling. On 
the death of Mr. Beale the business was turned into a limited 
company. 

Referring to the earlier period, Cramer & Co. published 
much sheet music and many important works. Two of these 
of especial interest to musical antiquaries are Rimbault's 
" Musical Illustrations of Bishop Percy's Reliques," 1850, and 
Chappell's " Popular Music." 

R. Addison, after he had left the Cramer firm, set up in 
conjunction with Hodson at 210, Regent Street, having also 
another address at 47, King Street. Besides publishing other 
works, Addison and Hodson had acquired (apparently from 
James Power's widow) the plates and copyright of Thomas 
Moore's Irish Melodies. They re-issued these from Power's 
plates, in the familiar green covers with the wood cut border 
and having the central cut of a female figure playing on the 
Irish harp. 

Creake, B. "At ye Bible in Jermyn Street." A book- 
seller in association with Cluer of Bow 
Church Yard. (See Cluer.) 

Crosby, B. & Co. Paternoster Row, or Stationer's 
Court, Ludgate Street. Book- 
sellers and publishers, who acquired from Oliver & Boyd, the 
Edinburgh publishers, several song books with type printed 
music, viz.: — "The Caledonian Musical Repository," 1806. 
Ditto, a later edition, 181 1. "The English Musical Repository, 
1807. Ditto, a later edition, no date, and "The Irish Musical 
Repository," all in 8vo. All these books were printed by the 
Scottish firm. Another edition of the English Musical 
Repository, dated 1808, has the name William Hunter, an 
Edinburgh bookseller. Crosby & Co. also published an edition 
of the Edinburgh Musical Miscellany, 1808, 2 volumes, 8vo 



36 
This was also an Edinburgh publication from the press of 
another printer, similar in style, originally issued in 1792 and 
!793- 

CrOSS, Thomas. A most celebrated engraver of music 
at the end of the seventeenth and 
beginning of the eighteenth century. It does not appear that 
much definite knowledge of him exists, but there is a passing 
reference to hini in Hawkins' History of Music, and his name 
is mentioned in two contemporary sets of satiric verses. He 
is credited with being the inventor of, or at any rate the first to 
flood the market with, half sheet songs, always in his time 
printed on one side of the paper, this generally thin, and 
being in fact, a musical variety of the ballad sheet, or broad- 
side. Of these half sheet songs so many remain up to the 
present day, that, considering their liability to destruction 
during a period of two hundred years, their output must have 
been enormous. From the fact that a great number of these 
sheets bear the names "Tho. Cross," or "T.Cross, junior," 
it is naturally inferred that they are the production of two 
persons, father and son, and most writers so class them. I 
venture, however, to differ from this general opinion, and to 
consider them but one, from the fact that Tho. Cross, junior, 
is invariably on the earliest music, and T. Cross, without the 
qualification, on the latest. I am inclined therefore to think 
that Cross, senior, if a music engraver, had nothing to do with 
the half sheet songs marked with the name. 

The earliest record I can find of a music engraver bearing 
the name is the signature " Tho. Cross, junior, Sculp.," 
engraved on Henry Purcell's "Sonatas of III parts," published 
by John Playford and John Carr, dated 1683. The latest 
record of the name is as "Cross, Sculpsit," on D. Wright's 
" Minuets and Rigadoons for the year 1732." As before stated, 
the word junior is almost always present on the earliest works 
— those prior tp 1708 or 1710, after this "T. Cross," or 
"Cross" stands alone. This, I suggest, points to the conclu- 
sion that Cross, senior, who ever he may be, has died about 
this time and the son then dropped the adjective. If Cross, senior, 
was a music engraver (as I think likely), it is very probable 
from his son being employed by Playford, that he, the father, 
may have cut the few books of delicately engraved music, 
which the elder John Playford published near the middle of 
the seventeenth century. It has been supposed that Cross 
(junior) may have engraved for Walsh, but this I am not able 
to confirm, though his name is freely present on his work done 



37 

for Cullen, Meares, & Wright, as well as for some others. 
Work done for or by Walsh at this period is markedly 
different in character. Cross engraved boldly and freely, and 
his lettering, small and large, is very cursive, the tails of the 
y's and g's being especially curly. 

Hawkins says that he lived in Catherine Wheel Court, 
near Snow Hill, off Holborn; this may be the case, but, as 
one of his songs indicates, he at one time resided "Near the 
Pound, at Clerkenwell." Many of his imprints show that he 
sold the songs he engraved, and worked both for authors and 
publishers alike; Henry Carey and Daniel Purcell among the 
former, Cullen Meares and Daniel Wright (senior and junior) 
among the latter. A favourite imprint is "Exactly engraved 
by T. Cross." 

Prefixed to Dr. John Blow's " Amphion Anglicus," 1700, 
is a denouncement of the half sheet songs : — 

" Music of many parts hath now no force. 
Whole reams of Single Songs become our curse. 

While at the shops we daily dangling view 
False concords, by Tom Cross engraven true." 

Another allusion to him is in Purcell's "Orpheus Britannicus," 
" Then honest Cross might copper cut in vain." 
Cross having engraved music from at least 1683 to 1732, 
near this latter year, having become an old man, may have 
employed apprentices, besides failing somewhat in skill. This 
will, of course, account for the coarseness of the engraving in 
his later period. Hawkins says that "he stamped the plates 
of Geminiani's solos and a few other publications, but in a 
very homely and illegible character, of which he was so little 
conscious that he set his name to every thing he did, even to 
single songs." 

Cullen, John. "At the Buck within Temple Barr," a 
music seller and publisher, who flour- 
ished about 1706-10. His name is on the imprint of an edition 
of Christopher Simpson's "Compendium of Practical Music," 
of the date, 1706, "printed by W. Pearson for John Cullen, at 
the Buck, between the two Temple Gates, Fleet Street," 8vo. 
This address indicates that he succeeded John and Richard 
Carr, who appear to have occupied the same premises in the 
latter years of the previous century. In 1707 he published 
the first edition of Keller's Thorough Bass, with a rubicated 
title in letterpress and the music " Fairly engraved on copper 
plates. London, printed for and sold by John Cullen, at the 



38 
Buck, between the two Temple Gates, Fleet Street, 1707," 
folio. At the back of the preface is a long list of "Books 
printed for and sold by John Cullen," but many of these 
are works printed by W. Pearson for Henry Play ford and for 
John Young, such as, " Harmonia Sacra," "The Dancing 
Master, 13th edition," "Wit and Mirth," etc. He also adver- 
tises "All sorts of ruled paper, ruled books, and music books 
of all kinds, with violins, flutes, flagellets, mock-trumpets, 
haut-boys, reeds, bows, bridges, strings, wire for harpsicords, 
and rests for harpsicords, with all the newest songs and 
music that comes out, to be had at the same place, likewise 
music fairly written." Other works which bear Cullen's 
imprints are: — 

Songs in the new Opera of Camilla ; fairly engraved on 
copper plates and more correct than the former editions, 
folio. 

Six Cantatas for a voice, with a thorough bass.... Com- 
posed after the Italian manner by Mr. Daniel Purcell, none 
of which were ever before published by the author's 
direction, carefully engraved on copper plates by T. Cross, 
printed for J. Cullen, at the Buck, without Temple Barr, 
folio. 

Cantata set by Mr. D. Purcell. (Commences: — "Far from 
the Nymph.") Sheet of 2 p.p., printed for J. Cullen, T. 
Cross, Sculp. 

Dale, Joseph. One of the most prominent London 
music publishers who, with his son 
and others of his family, flourished from near the end of the 
1 8th to almost the middle of the 19th centuries. Joseph Dale 
commenced business in a private house, No. 19, Chancery 
Lane, prior to 1778, but in, or shortly after 1783, took over 
the stock-in-trade and premises of S. Babb, at 132, Oxford 
Street. The directory for 1778 gives Dale at the Chancery 
Lane address, as do many of his published pieces of music. 
On one of these early copies, Niccolai's Six Sonatas, is a 
rather curious notice, of which, by favour of Mr. John Glen, of 
Edinburgh, I am able to quote some part: "A Catalogue of the 
most favourite music, selected from the best authors, printed 
and sold by J. Dale, at his house, No. 19, Chancery Lane, 
London. — N.B. The plates, copyright, and copies of the books 
marked * were purchased of William Napier, music seller, in the 
Strand, for ^540. Those marked 1 of Charles Bennett, Temple, 
once the property of John Welcker, music seller, Haymarket, for 
^682." Among the list are: — "The favourite opera of 
Rosina, by Shield," " Flitch of Bacon," "The Deaf Lover," 
"The Hermit, by Giordani," and second part to ditto, " Colin 



39 

and Lucy," " Maid of the Mill," by Shield. These are all 
marked as having been purchased from Napier. Dale adds a 
note to the effect that " as it is reported that Mr. Dale thinks 
it troublesome (as he does not keep a shop) to supply those 
who are not of the trade with books, he begs to say that this 
is not the case." The latest of the above list of operas is 
"Rosina," acted at Covent Garden in 1783; this and the 
appearance of his name in the directory of 1 786 as at Oxford 
Street, fixes his removal thither between these years. Another 
interesting advertisement is on an oblong quarto edition of the 
"Flitch of Bacon," printed for J. Dale, 19, Chancery Lane: — 
"Joseph Dale begs leave, respectfully, to acquaint the nobility 
and gentry, and the public in general, that he is removed 
from Chancery Lane to 132, Oxford Street, facing Hanover 
Square, having purchased of Mr. Babb, music seller (retired), 
the whole stock-in-trade, together with the musical circulating 
library, consisting of one hundred thousand books and upwards, 
which will, with the addition of every new publication, be 
extensively carried on both in town or country ; hoping to 
meet the favour of those who shall please to honour him with 
their commands " (Copy belonging to Mr. C. Lolley.) 

The Oxford Street premises were facing Hanover Square, 
at the corner of Holies Street, and having got here he rapidly 
developed his business, and in 1791 he opened another estab- 
lishment at 19, Cornhill, opposite the Royal Exchange. 
Shortly before the year 1800 Dale either gives up the shop at 
132, Oxford Street, and takes another in its place, which is 
variously styled 29. Holies Street, or Corner of Holies Street, 
or what is more likely, it may be the same under another 
designation. In 1803 he has an additional place, 151, New 
Bond Street, facing Clifford Street, but after 1808 the west 
end shops are all given up, and only the warehouse at 19, 
Cornhill retained. Before 1806 Dale took his son into partner- 
ship, and in 1809 the firm is Joseph and William Dale, who 
possibly may be sons of the original Joseph. In 181 2 Joseph 
and William seem to separate, Joseph being at 19, Cornhill, 
and William at 8, Poultry. In 1819 Joseph's address is 25, 
Cornhill — possibly a change in numbering rather than a change 
in premises. After this date Joseph entirely disappears from 
the directory, and William alone remains. In 1828 William 
is at 19, Poultry, and in 1828 is succeeded by E. Dale, who 
ceased sometime after 1835. 

Joseph Dale, the elder, was musician enough to compose 
pieces for the pianoforte and harpsichord, arranged from 



10 

popular airs. Sets of sonatas and concertos also bear his 
name. Another of the same name (probably a brother), James 
Dale, produced similar work. 

Joseph Dale's publications are so numerous as to defy 
classification. He published vast quantities of sheet music, 
and a great number of the standard English operas of the 
period ; generally in oblcng folio, with a smaller oblong edition 
for the German flute or violin. He also issued a folio collec- 
tion of English Songs, taken in many cases from these operas, 
and reaching to at least twenty numbers. Another similar 
collection was his Scotch songs, in three (or perhaps four) 
volumes, folio, each containing sixty airs. There was too, a 
series of Reels and Country Dances, in folio, the 25th number 
of which was published by William Dale, 8, Poultry. Other 
collections of Country Dances were in oblong quarto, but 
none, so far as I have seen, of the annual sets of twenty four 
for the violin, in oblong 8vo. which were so popular at that time. 
He published, of course, tutors for the harpsichord, etc., and 
advertises that he manufactures musical instruments of all 
kinds, and gives an extensive list, ranging from harpsichords 
down to flutes. The younger Dales' principally published 
sheet music, including, in 1835, the classic ditty, " All round my 
hat." 

DavieS, T. Was at 61, Red Lion Street, Holborn, 
about the year 1800. At a later date he 
was at 90, High Holborn. From these two addresses he issued 
sheet music ; he also engraved Dr. John Rippon's Psalms. 

Day, John. An early printer of note, who, according 
to Heber, first began printing a little 
above Holborn Conduit, removing about the year 1549 to 
Aldersgate. The books on early typography give very full 
accounts of him and his works. He died in 1584, having had 
several shops in different parts of London for the sale of his 
books. He published many religious works, and appears to 
have had a complete monoply for printing Sternhold's version 
of the Psalms, of which, between the years 1560 and 1584, he 
printed a great number of editions. In the first named year, 
he published the Church Service, with music. His only book 
of secular music seems to be " Songes of three, fower, and five 
voyces, composed and made by Thomas Whythorne, gent., 
the which songes be of sundry sortes, that is to say, some long, 
some short, some hard, some easie to be songe, and some 
betwene both ; also some solemne and some pleasant or 
merry ; so that according to the skill of the singers (not being 



41 

musitians) and disposition or delite of the hearers, they may 
here find songes for their contentation and liking. Now newly 
published in 1571, At London, printed by John Daye, dwelling 
over Aldersgate," oblong 8vo. (a copy of which is in the British 
Museum.) He had a son named Richard Day, who succeeded 
him and held the patent of printing the Psalms, several 
editions of which were printed by his assignment. John Day 
printed sometimes in conjunction with William Seres. He 
had a woodcut device of a man arousing a sleeper and the 
motto "Arise, for it is Day." 

Denham, Henry. Another of the Elizabethan 

printers, whose only musical 
production seems to have been two editions, both in the 
British Museum, of the Seven Penitential Psalms, reduced into 
meter, by William Hunnis, with the quaint title, "Seven Sobs 
of a sorrowful Soule for Sinne," 1583 and 1587, i2mo. 

Dibdin, Charles. This versatile genius came to 
London about 1760, and first got 
employment as a harpsichord tuner at John Johnson's, in 
Cheapside. After having made a success by his opera, "The 
Padlock," and written innumerable entertainments and songs 
for the play house, he sailed for India in 1788. The ship, 
however, in her outward passage touched at Torbay, and he 
relinquished his passage, posting back to London full of a 
mad scheme for the opening of a theatre for the performance 
of his own pieces. This he effected, together with a music 
shop in King Street, Covent Garden. In 1790 he left here 
and removed to 411, Strand, opposite the Adelphi, or Beaufort 
Buildings, to a hall which he named the "Sans Souci" ; from 
here he issued many hundred sheet songs, all written, com- 
posed, and sung by himself. These are each signed with his 
autograph, and include his best songs, Tom Bowling, among 
the number. In 1796 he removed to another building at No. 2, 
Leicester Place, Leicester Square, where he gave his different 
entertainments, and still continued the issue of his songs. He 
projected a publication called "The Lyric Rememberancer, con- 
sisting of songs, duettos, and trios The whole written and 

composed by Mr. Dibdin," quarto, this is dated 1799, but I 
doubt whether it reached more than two or three numbers. 
Meanwhile, his sheet songs came forth plentifully. In 1805 
he got tired of the business and sold the copyright of 360 songs 
and his stock-in-trade to Bland & Weller for £"1,800, and an 
annuity of ^100 for three years. In 1808 he again embarked 
in his entertainments, and opened a music shop opposite the 



42 

Lyceum, but it soon was a failure and bankruptcy followed. 
He died and was buried at Camden Town in 1814. 

Dicey, W. Held the printing office in Bow Church 
Yard after Cluer, and probably before 
Cobb; particulars, however, regarding him are decidedly 
scanty, though it is certain he was not very long in business. 
The only publications I have found bearing his name are some 
parts of " The Modern Musick Master", which were also sold 
by John Simpson. The date of this must be somewhere about 
1735-38. 

Diether, J. 2 9> Lisle Street, Leicester Square, probably 
commenced business 181 5- 18. A notice 
on one of his publications states that he was late of the King's 
Theatre, and organist of Ebury Chapel, Sloane Square. He 
published a quantity of sheet music, and bought at the sale of 
Bland & Weller's effects a great number of copyrights and 
plates, including many of Dibdin's, which he re-issued. He 
published a serial in small quarto " Diether's Pocket Companion 
for the flute," which ran to seven or more volumes, ranging in 
date between about 1816-20. One piece of sheet music has 
the address, 27, Lisle Street. 

Dover William. Published about 1800-5 "Complete 
Instructions for the Bassoon, 
printed and sold at Dover's music warehouse, Lincoln's Inn 
Fields, leading to Great Turnstile," oblong 4to. Another and 
a later imprint on sheet music is William Dover, Music and 
Musical Instrument Seller, 68, Chancery Lane. 

Duckworth, T. A piece of sheet music bears this title 
and imprint; in date about 1790- 1800. 

Spanish Dollars, a favourite song by Mr. Astley, senior, sung 
by Mr. Connell, and introduced in the representation of the 
situation of Lieutenant Rion in the Guardian Frigate, when 
surrounded by an island of ice, and now performing at 
Astley 's, Westminster Bridge. Printed and sold by J. 
Duckworth, at his house, No. 9, Oakley Street, near the 
Asylum, Lambeth, and may be had also at the Royal Grove 
during the performance. 

Eastland, George. His name is on John Dowland's 

" Second booke of Songs or 
Ayres of 2, 4, and 5 parts, with Tableture for the Lute or 
Opherian, published by George Eastland and are to be sould 
at his house neere the Greene Dragone and Sword, in Fleet 
Street, London, printed by Thomas Este, the assigne of 
Thomas Morley," 1600, folio. A copy in the British Museum. 



43 

Eavestaff "W. 66, Great Russell Street (opposite 
Montague Street) published a " Selec- 
tion of French Melodies, with English words," large 4to. 
Appended to No. 3 is a lengthy list, dated 1826, of music pub- 
lished by him, numbering two or three hundred items. (From 
a copy kindly forwarded by Mr. Alfred Moffat.) 

Edlin, Thomas. Printed and published a small 
octavo volume of Canzonets and 
Cantatas by Paolo Rolli, the pastry cook musician. The 
book is dedicated to the Countess of Pembroke, and consists of 
23 engraved music sheets and 124 p.p. of letterpress, its title is 
Di Canzonette e di Cantate libri due di Paolo Rolli, Londra, 
presso Tommaso Edlin, 1727 ; 8vo. (In my own library.) 

Este, Thomas. (Sometimes East or Est). Possibly 
an Italian. One of the best known 
of the early music printers, who had also previously done much 
ordinary typography, commencing in this about 1569. In 
1 57 1 he printed the Psalms of David, and others, 4to, but his 
musical works start about 1587-8, at which date he acquired 
from William Byrd (who then held the sole right of music 
printing) a license and this privilege was continued by Thomas 
Morley. Thomas Este printed a great number of the 
Elizabethan madrigal books, and his name is found so late as 
1608. In 1609 the name, "Tho. Este, alias Snodham" is found 
on the imprint of a book, and Snodham's name as a music 
printer continues up to 1624. It is rather unlikely that the 
original Thomas Este, who printed in 1569, should be printing 
so late as 1609, and it may be assumed that a successor to the 
business (a son-in-law perhaps) used it and so marked his con- 
nection with Este. In 16 10 another edition of a work 
originally printed by Thomas Este in 1589, Byrd's " Songs of 
sundrie natures," is imprinted by Lucretia Este, the assigne of 
William Barley, 1610. She was the wife, and at that time 
no doubt widow, of Thomas Este. She is said to have died 
in 1 63 1, and to have left ^"20 to the Stationers' Company for 
the purchase of a piece of plate. 

The address of Thomas Este in 1588 is at Paules Wharfe, 
but in 1589, and to at least 1605, he is at the Black Horse, in 
Aldersgate Street ; in general, however, his imprints merely 
state — In London, by Thomas Este. His books are particularly 
well printed, with the type well cut ; the madrigal books are 
mostly in the usual small quarto, and generally bear a wood- 
cut emblem in the centre of title page, with a border round 
the page. The initial letters in the body of the book are bold 



44 

and quaint. Copies of most of Este's musical books are in the 
British Museum, and some in the libraries of Mr. Taphouse, 
and of Mr. J. E. Matthew, as well as other public and private 
collections. Several were reprinted by the Musical Antiquarian 
Society. 

Michael Este, a composer of glees and madrigals, is said 
to have been the son of Thomas Este. 

The following are some of Este's publications: — 

1588. Psalms, Sonets, and Songs of Sadness and Pietie....By 
William Byrd. .. .Printed by Thomas East, the assigne of 
W. Byrd, and are to be sold at the dwelling house of the 
said T. East, by Paul's Wharfe, 1588, 4to. 

1588. Musica Transalpina, Madrigals, translated of foure, five, 
and sixe parts. . . .Published by N Yonge, in favour of such 
as take pleasure in Musick of Voices. Imprinted by T. 
East, the assigne of William Byrd, 1588, 4to. 

1597. Ditto. ; the Second Booke, 1597. 

1589. Songs of sundrie natures, some of gravite and others of myrth, 
fit for all companies and voyces. .. .William Byrd.... Im- 
printed at London by Thomas Este, the assigne of William 
Byrd, and are to be sold at the house of the sayd T. Este, 
beeing in Aldersgate street, at the signe of the black horse, 
1589, 4to. 

1590. The first sett of Italian Madrigalls Englished. .. .Thomas 
Watson. (Same imprint), 1590, 4to. 

1593. Canzonets or Little Short Songs to three voyces. (Similar 
imprint), 1593, 4to. 

1594. Songs and Psalmes, composed in 3, 4, and 5 parts.... By 
John Mundy. (Similar imprints), 1594, 4to. 

1594. Madrigalls to foure Voyces, newly published by Thomas 
Morley. (Similar imprint), 1594. A later edition printed 
in 1600, 4to. 

1595. The First Booke of Ballets to five voyces, by Thomas 
Morley. In London by Thomas Este, 1595, 4to. 

1595. The First Book of Canzonets. .. .Thomas Morley. .. .Im- 
printed at London by Thomas Este, the assign of William 
Bird. 1595, 4to. 

1597. Madrigals to 3, 4, 5, and 6 voyces, made and newly published 
by Thomas Weelkes. London, printed by Thomas Este. 
1597, 4to. 

1597. The first set of English Madrigals to 4, 5, and 6 voyces, 
made and newly published by George Kirkbye. London, 
printed by Thomas Este, dwelling in Aldersgate Street. 
1597, 4 to. 

1596. The First set of English Madrigals to 3, 4, 5, and 6 voices, 
newly composed by John Wilbye. At London, printed by 
Thomas Este. 1598, 4to. 



45 

1598. Madrigals to five voyces, selected out of the best approved 
Italian authors by Thomas Morley (Same imprint), 1598, 
4to. 

1598. Ballets and Madrigals to five voyces .... Thomas Weelkes. 
(Same imprint), 1598, 4to 

1600. Madrigals of 5 and 6 parts apt. for the Viols and Voices 
....Thomas Weelkes .... At London, printed by Thomas 
Este, the assigne of Thomas Morley, 1600, 4to. 

1600. Madrigals of 6 parts apt. for the Viols and Voices, made 
and newly published by Thomas Weelkes, (Same imprint), 
1600, 4to. 

1600. The Second booke of Songs or Ayres of 2, 4, and 5 parts. . 
By John Dowland. . . .Published by George Eastland. .1600. 
(Same imprint), folio. 

r6oo. The Triumphs of Oriana, to five and six voices, composed 
by divers several authors, newly published by Thomas 
Morley. (Same imprint), 1600. 

1601. The First Booke of Ayres composed by Robert Jones. 

1604. Madrigales to 3, 4, and 5 parts, apt. for Viols, and Voices. . 
Michael Este, In London, printed by Thomas Este. 1604, 
4to. 

1604. The first set of English Madrigales to 3, 4, 5, and 6 voices. . 
Thomas Bateson. (Same imprint), 1604, 4to. 

1605. The first Booke of Songs or Ayres of 4 parts. . . .F. Pilking- 
ton. . . .London, printed by T. Este, dwelling in Aldersgate 
Street, and are there to be sould. 1605, folio. 

1606. Songs for the Lute, Viol, and Voice, composed by 
J. f)anyel. . . .London, printed by T. E. for Thomas Adams, 
1606, folio. 

1608. Canzonets to three voyces, newly composed by Henry 
Youll. . . .In London, printed by Thomas Este, the assigne of 
William Barley, 1608, 4to. 

1808. Musica Sacra to sixe voyces, composed in the Italian 
tongue by Giovanni Croce. . . .(Same imprint), 1608, 4to. 

[1608]. Ultimum Vale or the Third Booke of Ayres of 1, 2, and 
4 voyces, by Robert Jones. Folio. 

Evans, P. Ic ? 2 > High Holborn, published about the 
year 1780, and prior, sheet and half sheet 
music, which was very frequently only signed with the initials 
P. E. One of these half sheets is " The Favourite Song sung 
by Miss Brown in Three Weeks after Marriage." This play 
was acted in 1776. Among others bearing the full name and 
address is " The Faithful Maid, by the author of the Death of 
Auld Robin Gray." 

Ewer & Co. J onn Ewer & Co. were in trade as im- 
porters of foreign music at 1 , Bow Church 
Yard, Cheapside, in or before the year 1824. The firm was 



46 
afterwards Ewer & Johanning, at the same place, with another 
address at 20, Titchbourne Street, Piccadilly; in 1853 their 
address was 390, Oxford Street. They held copyrights 
of Mendelssohn's works, and did an important business. 
In 1867 they became united into the firm of Messrs. Novello, 
as Novello, Ewer & Co., removing to No. 1, Berners Street, 
the present premises of the firm. 

Falkener, R. A printer of music sheets from move- 
able type after the manner of Fought, 
whose plant, judging from the similarity of the type, he 
appears to have purchased. He worked about 1770-5, and was 
at 3, Peterborough Court, Fleet Street, afterwards going 
to 45, Salisbury Court, Fleet Street. The sheet music 
was sold at a penny per page, folio, an innovation in cheap 
music, for at that time the ordinary engraved sheet song of 
2 pp. was sold at 6d, or 4 pp. at a shilling. The half sheet song 
(engraved) was probably sold at 3d. One of Falkener's half 
sheet songs is from the Duenna, acted 1775, with the imprint 
" London, printed by R. Falkener, No. 3, Peterborough Court, 
Fleet Street, where the choicest songs, etc., are sold at one 
penny a page." Another song is "The Mighty Bowl, set by 
J. Croft, London, printed and sold by R. Falkener, No. 45, 
Salisbury Court, Fleet Street, where Overtures, Cantatas, and 
the choicest Songs are sold at a penny a page." 

Falkner & Christmas. A firm who about 1818-20 

published sheet music. On 
one song, sung by Miss Kelly at Drury Lane, is the following 
imprint, " printed by Falkner & Christmas, late M. Kelly, at 
the Opera Music Warehouse, 9 Pall Mall." See Christmas 
and the following : — 

Falkner H. 3> Old Bond Street, was in business in 
1 82 1, probably having been a partner 
with Christmas. About this date he published the sheet songs 
'• Charlie is My Darling," and "Answer to Jessy the Flower of 
Dumblane," this latter by C. N. Smith, and ingeniously con- 
trived in style of title engraving to pass on unwary purchasers 
as the original song, then popular, by R. A. Smith. Falkner 
was in business as late as 1838. He issued a great deal of 
sheet music. 

Fentum John. 78, Strand, Corner of Salisbury 

Street, or near Cecil Street, or near 

the Adelphi. Was in business at this address as early as 

1770 or 1773, while his descendant, Henry Fentum, held the 



47 
same premises nearly a hundred years after him. John Fentum 
had an extensive trade, and published sheet and half sheet songs 
during the latter half of his century. Some of these half sheets 
are songs from the opera of the Golden Pippin, acted in 1773, 
and another early publication contemporary with them is 
a "Collection of Songs, set to music by J. B. Adams," folio pp. 
15. On this is advertised some pieces of instrumental music. 
A great number of his half sheet songs are only to be recognised 
from the I. F., or Ino. F. stamped on the lower corner of the 
plate. He also issued a great many books of dances and 
cotillions, generally in oblong quarto, many of these being a 
continuation of a series of dance books commenced by Francis 
Werner, a master of the ceremonies at Almacks, etc. One of 
them is for the year 1788, and another for 1789 "dedicated to 
the subscribers to Willis's Rooms, Festino, &c, by Jno. 
Fentum, who intends continuing this work in the same manner 
as the late Francis Werner." Werner died in 1787. Others 
of these yearly collections are dated 1792, 5, 6, 8, 1816, etc. 
He and his successors also put forth annual sets of twenty four 
country dances for the violin. I have seen copies for 1810, 
1816, and 1825. 

In 1853, Mr. Henry Fentum was at 78, Strand, and Mr. 
A. J. Hipkins, who has very pleasant memories of him, 
favours me with the information that he was a flute player of 
ability who occasionally performed at the opera. Fentum's 
shop is now gone, and its site absorbed into the Hotel Cecil. 

Fentum, Catherine. No doubt a relation of the 

foregoing John Fentum. She 
published sheet songs about the year 1775-80. Her shop was 
at 416 or 417, near Bedford Street, Strand. One sheet song 
bears a large caricature engraving and is entitled "The Appre- 
hension, or the Devil among the Lawyers, composed by I. B., 
London, printed for C. Fentum, 417, near Bedford Street, 
Strand," circa 1775. Another is, " Maria, an Elegy... London, 
printed for the author by Catherine Fentum, No. 416, Strand." 
There are others, along with these, in the British Museum, 
and some simply stamped " Ka. F-m." I have some reason 
to believe that the Fentum family came from Ireland. 

Fielding, John. A bookseller at 23, Paternoster Row, 
who published two song books, 
having the airs to the songs printed from moveable type. The 
first was "The Convivial Songster," printed in 1782, small 8vo., 
and another, a more refined companion volume, was named, 
"The Vocal Enchantress," bearing the date 1783; both are 



48 
adorned with beautifully engraved titles and frontispieces. 

I have also in my library several small folio song sheets, 
each with engraved music, and a charmingly etched pictorial 
heading illustrating the song. These are tinted with water 
colour, and appear to have been so issued. They bear 
Fielding's name, and the engraved date, September 15th, 1785. 
I have not seen any other musical works that may be referred 
to him. 

Filmer. It is stated in Burgh's Anecdotes of Music, 
vol. 2, p 289, of Jean Baptiste Boesset, who 
was a favourite French secular composer in the early part of 
the seventeenth century, and a performer on the lute, that some of 
his "Court Ayres, with their ditties Englished," were engraved 
and published in London by Filmer in 1629. I doubt whether 
any copy of this book now exists, though its original publication 
may not be open to doubt. 

Forster, \Af illiam. One of a family of fiddle makers, 

who was born in 1739 at Bramp- 
ton, in Cumberland, his father and grandfather being makers 
of spinning wheels, and sometimes of violins. William 
Forster came to London as a cattle drover, about 1 759, and 
tried to get employment as a spinning wheel maker, but having 
made gun stock, and occasionally a violin, he is said to have 
found a more permanent place with a violin maker and music 
seller named Beck, of this person I have as yet found no trace. 
He left Beck, and one of his labels, said to be dated 1762, 
gives: — "William Forster, violin maker, in St. Martin's Lane, 
London, 1 762." It is likely that he now kept a small music shop 
and seems to have been patronised and befriended by royalty. 
A gentleman named Colonel West is mentioned as one of his 
early patrons who gave him much needed help. In 1781 
he had entered into an agreement with Haydn for the English 
publication of the composer's works, and he seems to have 
gone extensively into music publishing. In my own library is 
"The Celebrated Opera Dances, as performed at the Haymarket, 
1783, Book II1I," with the imprint " London, printed for W. 
Forster, violin, violoncello, tenor, and bow maker to their 
Royal Highnesses the Prince of Wales and Duke of Cumber- 
land, also music seller to his Royal Highness the Duke of 
Cumberland, corner of Duke's Ct., St. Martin's Lane." 
Another publication of this period is " Six progressive Lessons 
for the Harpsichord.... By Mr. Bach...Wm. Forster, corner of 
Duke's Court, St. Martin's Lane." The opera dances for 1783 
as above are advertised on this. The shop at the corner of 



49 

Duke's Court is now covered by a portion of the National 
Gallery. In or about 1784116 removed to 348, Strand, near 
Exeter Change. With this imprint he published yearly Country 
Dances for the violin in oblong 8vo.; the set for 1787 is in the 
possession of Mr John Glen. He remained at 348, Strand, 
till after 1802, and died at Westminster in 1808, the business 
being now carried on by his son, also named William and a 
violin maker. About 1 814- 15 William Forster, junior, was at 
another address in the Strand. He published a song from the 
popular drama " The Old Oak Chest," " printed for Wm. Forster, 
music publisher and musical instrument maker, 87, Strand, 
opposite Southampton Street." The above William Forster 
was born in 1764 and died 1824. He left a son, also a violin 
maker, Simon Andrew, born 1801, died 1870. He was the joint 
author, with William Sandys, of the " History of the Violin ," 1 864. 
This work contains much information regarding the family, as 
does also a privately printed quarto, the " History of the Foster 
(or Forster) Family." published by John Camden Hotten. 

Fought, Henry. At the Lyre and Owl in St. 
Martin's Lane, printed and pub- 
lished sheet and other music from metal type in which he 
claimed to have made much improvement. He obtained 
a patent for these improvements in 1767. He, by reason of 
more rapid printing, was enabled to undersell the publishers 
of engraved music, and by this appears to have gained much 
ill will in the music trade. Hawkins' account of him, Avritten 
in 1776, is as follows : — " About ten years ago, one Fought, a 
native of Lapland, arrived here, and taking a shop in St. 
Martin's Lane, obtained a patent for the sole printing of music 
on letterpress types of his own founding, which were very 
neat. The patent, had it been contested at law, would 
undoubtedly have been adjudged void, as the invention was 
not a new one. He published several collections of lessons 
and sonatas under it, but the music sellers in London copied 
Ins publications on pewter plates, and by underselling drove 
him out of the kingdom." Hawkins is probably wrong in his 
statement of the engravers underselling Fought. Appearances 
are to the contrary, as Fought's single songs were sold at a 
penny a page, or eighteen for a shilling, while the regular 
price for a two page piece of engraved music was sixpence. 

On the title page of the few collections of sonatas, etc., 
which I have seen of Fought's, appears a boldly engraved wood- 
cut of an owl seated over a rocky cave ; a pair of scales, and a 
torch also form part of the design.. In. these books also is 



so 

printed a resolution of the Society for the encouragement of 
Arts, dated, December 28th, 1768, to the effect: — "The 
society took into consideration the specimen of Mr. Henry 
Fought's new invented type for printing music ; resolved — that 
Mr. Fought's method of printing music is an improvement 
superior to any before in use in Great Britain, and that it 
appears to answer all purposes of engraving in wood, tin, or 
copper for that end, and can be performed with much less 
expense." 

Besides some single sheet songs and pieces for the violin, 
in my own library (bearing the following, in addition to the 
imprint, "the choicest ballads at a penny a piece, or eighteen 
for a shilling "), I have seen but the following works by 
Fought: — "Six Sonatas for the Harpsichord, composed by 
Sig. Giacomo Croce, Lsndon, printed and sold by Henry 
Fought, at the Lyre and Owl, in St. Martin's Lane, near 
Long Acre," folio. "Three Sonatas, for the Harpsichord, 
composed by Giuseppe Sarti," oblong quarto ; both belonging 
to Mr. Taphouse. Other works advertised on these are : — 
" Uttini's Six Sonatas," inscribed to the Society of Arts, 
" Sabatini's Six Sonatas." 

The music printing in Fought's works is far in advance 
of his period, and though the music is very full, the joining 
of the type is seldom to be distinguished. For whatever 
reason Fought gave up printing, it is likely he did it before 
1770, for about that date R. Falkener purchased his type and 
plant, and issued sheet songs in similar style, at the same 
low price. 

Fraser, Peter. Flourished about 1730, and published 

C. 1730. The Delightfull Musical Companion for Gentlemen and 
Ladies, being a choice collection out of all the latest Operas, 
composed by Mr. Handel, Sig. Bononcini, Sig. Attilo, etc., 
vol. I ; Curiously engraven for ye Publisher, Peter Fraser, 
and sold by him in Cdhduit Street, near Hanover Square, 
8vo. 

(Sir J. Stainer's Catalogue of Song Books ; Booksellers' Catalogue, 
etc.) 

Frecker, W. A grand pianoforte maker, of 31, Rath- 
bone Place. His name is in the 
directory for 1807. He may or may not have issued musical 
publications. 

French, J. Published about 1775 a large quarto 

volume, " The Cathedral Magazine, or 

Divine Harmony Vol. I, London, printed for J. French, 



51 
47 (opposite Hatton Garden), Holborn, and sold by all book- 
sellers in Great Britain," quarto, engraved music, circa 1775. 
He also continued " The New Musical and Universal Maga- 
zine," vols. II and III [circa 1776 and 1777) ; a large octavo 
serial publication with engraved music, published monthly, 
and containing literary matter in addition. Bound up with 
copy in my possession are Malcolm's Treatise on Music ; a 
transalation of Rousseau's Dictionary of Music ; and Rameau's 
Principles of Composition, all published by French, and one 
bearing the date 1776. These appear to have been issued in 
connection with the magazine. The first volume for 1775 
was published by Richard Snagg. 

Galabin, T. W. Ingram Court, Fenchurch Street, 
published " Select Psalms and 
Hymns, for the use of the Parish Church of Cardington, in the 
county of Bedford," 8vo., dated 1786. 

Ganer, Christopher. 47 and 48, Broad Street, 

Carnaby Market, Soho. He 
made pianofortes and was established here, and at No. 50, of 
the same street, from at least 1796 till about 181 1. He 
probably published sheet music. 

Gardom, G. Music and Musical Instrument Seller, 
23, St. James Street. He published " A 
Favourite Lesson for the Harpsichord, or Pianoforte, com- 
posed by Christopher Wagenseil London, printed and 

sold by G. Gardom, at his music shop, St. James Street," 
oblong folio, circa 1780-5. Gardom was in business after 
1807 at this address. 

Gawler, W. *9> Paradise Row, Lambeth, published 
sheet music near the end of the eight- 
eenth century. His musical coadjutor seems to have been 
one H. Skeats, many of whose songs he issued and who 
arranged others. 

At the back of one the pieces of music, " The Downfall 
of Paris," is a catalogue of vocal and instrumental music pub- 
lished by Gawler ; one is a song relating to the victory over 
the French invaders at Fishguard in 1798. 

GerOCk, C. 76, Bishopgate Street, within. He is 
found at this address in 1805 and 1820. 
From i8i5to 1818 he has another place of business at 1, 
Gracechurch St., in addition. In 1824 he is in partnership 
with Astor at 79, Cornhill, and in 1831 with Wolf at the same 
address. Gerock and his partners were pianoforte makers, 



and before the partnership he published sheet music and 
country dances. Of these latter I have seen the yearly 
collections of twenty-four for 1812 and for 181 3, in oblong Svo. 

Gillray, James. The caricaturist was, in the early 

part of his career, employed as a 

music engraver, and several title-pages have his name attached. 

One, in an ornamental design, is printed by Win. Napier, 474, 

Strand. 

Gladman, T. 2 4> Middle Row, Holborn, a music 

seller, whose name is found on a music 

sheet, circa 1790, " printed for G. Walker, 106, Great Portland 

Street, and T. Gladman, 24, Middle Row, Holborn, engraved 

by E. Riley, 196, Fleet Street." 

Godbid, "William. A printer from moveable type 

employed by John Playford, the 
elder, for printing musical works. In 1658 he printed for him 
" A Brief Introduction to the Skill of Music," and in following 
years till 1674 later editions of the same work. IriXiG^g he 
printed Christopher Simpson's " Division Violist," and in 1667 
the same author's "Compendium of Practical Musick" ; this 
latter for Henry Brome. Before the year 1679 William 
Godbid had either died or resigned in favour of A. Godbid 
(his son), who had entered into business with John Playford, 
junior. The probabilities are that the elder Playford had 
apprenticed his son to William Godbid, and that on completion 
of the term, the two sons had taken over the printing office, 
which was in Little Britain. In Campion's " Art of Descant," 
printed for John Playford in 1679, is the following advertise- 
ment, signed by the elder Playford : — " All such as have any- 
thing of musick to print are desired to take notice that the 
ancient and only printing house in England for variety of 
musick and workmen that understand it, is still kept in Little 
Britain, London, by A. Godbid and J. Playford, junior, which 
is also the usual house for printing mathematical books, 
witness the different works of Dr. Fell, Dr. Wallis, Dr. 
Barrow, Mr. Kersie, &c, there printed. Your servant, John 
Playford." A. Godbid and J. Playford, the younger, printed 
Playford's " Introduction to the Skill of Musick," 8th edition, 
1679; " The Dancing Master," 6th edition, 1679; "Wit and 
Mirth," 1682 (no music), and a small volume of engraved 
map, " Atlas Maritimus," by John Seller, 1682. I have seen 
no book bearing Godbid's name after this date, but in 1684 
and 1685 John Playford, junior, alone, prints works for his 



father and brother. Following the usage of the other old 
typographers, William Godbid generally used his initials only 
on his imprints (as did also his son and young Playford), but 
in some cases it is " W. Godbid," — ■" William Godbid" in at 
least one case ; similarly also with his son and his son's 
partner. 

Goillding & Co. This great firm was originally com- 
menced by George Goulding, who 
was probably in business before 1784. He issued sheet-songs 
from the pantomime of Don Juan, acted in 1787, and other 
sheet music, prior to and contemporary with this. His address 
at this time was at " The Haydn's Head, No. 6, James Street, 
Covent Garden," and shortly afterwards an additional one at 
17, Great Turnstile, Holborn. About 1790 this latter gave 
place to one at 113, Bishopgate Street, but while still keeping 
his principal place of business in James Street, these two latter 
addresses must have been only in force for a short time. From 
James Street he issued annual sets of twenty-four dances in 
oblong octavo. One of these is for 1792, and on it is advertised 
a collection by Mr. Carter for the year 1788. Another yearly 
set of dances from James Street is for 1797. Early in 1799 
he removed to 45, Pall Mall, and took others into partnership. 
The new firm was styled Goulding & Co., or Goulding, Phipps, 
& D'Almaine, and they became music sellers to the Prince and 
Princess of Wales. In 1803 they took additional premises at 
76, St. James Street, and in 1804-5 na< ^ given both these 
addresses up, and removed to 117, New Bond Street, with an 
agency at 7, Westmoreland Street, Dublin. In 1808-9 the 
number in New Bond Street was changed to 124. About 
this time Phipps retired from the concern and probably com- 
menced a business on his own account. The firm was now Gould- 
ing, D'Almaine, & Potter. At the end of 181 1 they remove 
their London address to 20, Soho Square, and Samuel Chappell 
takes the shop at 124, New Bond Street. The firm remains 
at 20, Soho Square till 1858. Sometime between 1830 and 
1837, Goulding's name is absent from the firm, which is then 
D'Almaine & Co., and in 1838 they advertise a catalogue of 
200,000 engraved plates. In late years the name of the firm 
was D'Almaine & Mackinlay, and in 1867 the whole stock 
and plates were sold off by auction, owing to the death of Mr. 
D'Almaine, which occurred in 1866 in his 83rd or 84th year. 
In 1858 D'Almaine & Co. left Soho Square for 104, New 
Bond Street, and at the present day the firm is still an im- 
portant flourishing one. 



54 

The premises in Soho Square, from whence so much of 
Goulding & D'Almaine's work was issued, is a fine old stately 
mansion, now occupied, with no change in its external appear- 
ance, by Messrs. Crosse & Blackwell, the pickle manufacturers. 

The immense share that Goulding & Co. had in the pub- 
lication of the music of its period, is realised in the vast 
quantity of works bearing their imprint. During their early 
period they published many of the important operas, particu- 
larly those by Mazzinghi and Reeve, as well as some of a 
rather earlier date by Shield, as " Robin Hood," " The Poor 
Soldier," etc. They issued also many series of Country 
Dances in folio, in oblong quarto, and oblong octavo. John 
Parry seems to have been their principal musical arranger 
of the dances, and they also published under his editorship a folio 
collection of Scottish Melodies, and one of his " Selections of 
Welsh Melodies." Another of Parry's works was the set of three 
letterpress printed musical volumes, "The Vocal Companion," 
1829 ; " The British Minstrel," 1830 ; and "Flowers of Song," 
1837. Another work in several volumes, folio, was " Melodies 
of various Nations," with words by Thomas H. Bayly, and the 
music by Bishop and Stevenson. In the first volume of this 
work, having the words " To the home of my Childhood," 
appears for the first time in print the air to which Howard 
Payne wrote the song " Home, Sweet Home." 

One of Goulding & Co.'s early and very humble publica- 
tions, of interest to Scottish collectors, was an edition in small 
oblong volumes of Aird's " Selection of Scotch, English, Irish 
and Foreign Airs for the Flute." Another series of quaint 
little volumes, at least twelve in number, at this period was 
" The Gentleman's Musical Companion." 

GOW, John & Andrew. These were two younger 

sons of the famous Niel 
Gow, the Scottish fiddler, who, coming to London, probably 
set up a small music shop at 60, King Street, Golden Square, 
where they acted as agents for their father's publications, and 
their names, with this address, occur on the first editions of 
Niel Gow's second and third collections of Strathspey Reels, 
1788 and 1 79 1. After the death of Andrew, John Gow con- 
tinued the business, and before 1804 had remdved to 31, 
Carnaby Street, Golden Square, where he remained till 181 5 
or 1816; in this latter year he was at 30 or 31, Great Marl- 
borough Street, still in the same district. He did not stay 
very long at this address, removing to 162, Regent Street, 
where he, with his son, was publishing in 1824 as "John Gow 






55 

& Son." John Gow died in 1827, but the business was still 
carried on. 

In the earlier period, John Gow was principally agent for 
his brother, Nathaniel Gow, and Gow & Shepherd, the Edin- 
burgh firm; in the later period John Gow & Son were "music 
sellers to his Majesty," and published vast quantities of sheet 
dance music, — quadrilles, etc. 

Greenhill, X. This name, as the engraver, appears 

on one of four small volumes in oblong 

octavo, entitled " Ayres for the Violin; to wit, Preludes, Fuges, 

Allmands, Sarabands, Courants, Gigues Composed by 

Nicola Matteis. T. Greenhill, Scul." Concealed in the 
ornamentation of a crown, which heads the title page, is the 
date, 1685. The volumes are in Mr. Taphouse's library, and 
concerning them Dr. Burney quotes Roger North to the pur- 
port that Matteis " observing how much his scholars admired 
the lessons he composed for them, which were all trios, and 
that musical gentlemen who heard them wished to have copies 
of them, he was at the expense of having them neatly engraved 
on copper plates, in oblong octavo, which was the beginning 
of engraving music in England, and these he presented, well 
bound, to lovers of the art and admirers of his talents, for 
which he often received three, four, and five guineas. And so 
great were his encouragement and profits in this species of 
traffic, that he printed four several books of ' Ayres for the 
Violin,' in the same form and size." 

The statement that these books was the beginning of 
engraved music in England is, of course, utterly incorrect. 

Griffin, Edward. Printed in 1641 "The First Book 
of Selected Music...... Collected by 

John Barnard London, printed by Edward Griffin, and are 

to be sold at the signe of the Three Lutes in Paul's Alley, 
1 641," folio. No perfect copy of this work is known to exist, 
some parts of it are in the old Sacred Harmonic bociety's 
library. 

Halliday & Co. 23, Bishopgate Street, Within, 

issued sheet music, including a 

folio series of Country Dances. Nos. 5 and 9 bear the above 

address, and the last named number was published shortly 

after 1809. He is mentioned in the directory for 1807. 

Hamilton, A. 22I > Piccadilly, published about 1810, 

an edition of Pasquali's Thorough Bass, 

edited by J. Jousse, in oblong folio, also in the same size at an 



56 

earlier date. The " Spirit Song," from Shakespeare, set to music 
by Haydn. Hamilton was in Piccadilly from before 1799 till 
after 1815; then- in Wardour Street till at least 1825. 

Hannam, J. 162, Sloane Street. He published a 
series of Country Dances in folio, for the 
pianoforte. Number 2 has a watermark 1800 and is printed 
shortly after that date. 

Hannam, H. Had a musical circulating library at 4, 
London Road, Southwark, near the 
Obelisk. About the years 1808-14 he "taught pianoforte 
playing, singing, the German flute, and patent flageolet; the two 
former at 3 guineas per quarter, the latter at four lessons for a 
guinea." He published two or three small quarto volumes, 
being a "Selection of Celebrated Irish Melodies, for two 
German flutes," directly taken from Moore's Irish Melodies, but 
under the old names of the? tunes. Hej like other music 
sellers before the introduction of the disfiguring rubber stamp, 
had an engraved slip bearing his name and address, which he 
was in the habit of pasting over the imprints of such sheet 
music as fell into his hands for sale. ... ■, 

Harbour, Jacob. A music seller and " musical 
' instrument maker," who arranged 
three sets of Country Dances; the two first of which were pub- 
lished by Longman & Broderip in 1796. About 1797 he issued 
from his own address, 5, Lamb's Conduit Street, a third book 
in oblong quarto. In the directory for 1807 he was at 13, 
East Street, Red Lion Square. 

Hare, John & Joseph. These two, father and son, 

were important music sellers 
and publishers during the early part of the eighteenth century, 
and we're closely associated in trade with the elder John Walsh. 
John Hare, the father, held a music shop bearing the sign 
" The Viol," or " Golden Viol" (under several more or less 
eccentric forms of spelling), situate in St. Paul's Church Yard, 
and having also a house and place of business in Freeman's 
Yard, off Cornhill. Mr. Barclay Squire kindly drew my 
attention to a publication (in the British Museum) of John 
Hare's, the earliest which, up to the present, I have yet found, 
this is dated 1697, and is a tiny oblong engraved volume, being 
the eleventh edition of a book for the flageolet, the ninth edition 
of which was published by John Clarke, probably about 



57 

1680-5, at the same sign — the Golden Viol — in St. Paul's 
Church Yard. Portions of the later edition of the work are 
from the old plates, and Hare has undoubtedly succeeded to 
Clarke's business and stock-in-trade. The title of Hare's 
edition is : — " Youth's Delight on the Flageolet ; the third 
part containing ye newest lessons with easier directions than 
heretobefore. Being ye i.ith edition, with additions of ye 
best and newest tunes. Printed, and are to be sold, by John 
Hare, at ye Viol, in St. Paul's Church Yard, and at his shop 
in Freeman's Yard, in Cornhill, nere ye Royal Exchange. 
Musical Instrument seller, 1697" (very small oblong ; frontis- 
piece and folding plate from the old plates). 

Another very early publication by John Hare is in Mr. 
Taphouse's library. It is engraved throughout and is in 
oblong 8vo. " The Complete Flute Master, or the whole art 
of playing on ye Rechorder, lay'd open in such easy and plain 
instructions, that by them ye meanest capacity may arrive to 
a perfection on that instrument ; with a collection of ye newest 
and best tunes, composed by the most able masters, to which 
is added an admirable solo ; fairly engraven on Copper Plattes. 
London, printed and sold by I. Hare, musical instrument 
maker, at ye Golden Viol, in St. Paule's Church Yard, or at 
his shop in Freeman's Yard, in Cornhill, near ye Royal 
Exchange ; and I. Walsh, Musicall Instrument maker in 
ordinary " (rest cut off). 

John Walsh (who at this time, was now established to 
the westward) and John Hare soon seem to have worked in 
common, and many sheet songs and more important publica- 
tions printed in the very earliest years of the eighteenth 
century, bear this, and similar, imprints : — " London, sold by 
I. Walsh, musical instrument maker in ordinary, to his 
Majesty, at ye Golden Harpe and Hoboy, in Catherine Street, 
in ye Strand, and I. Hare, at ye Golden Viall, in St. Paule's 
Church Yard, and at his shoppe in Freeman's Yard, in Corn- 
hill, near the Royal Exchange, and I. Young, musical instru- 
ment maker, at ye Dolphin and Crown, in St. Paule's Church 
Yard." " Bononcini's Ayres in 3 parts" (Taphouse); "Select 
Preludes and Voluntarys for the Violin," " The First part of 
the Division Violin" (Glen), with others and with sheet songs 
all have the names of Walsh and Hare, with the latter's 
address in St. Paule's Church Yard. 

I have not been able to discover the precise year of Hare's 
removal from St. Paul's Church Yard. " The Monthly Mask 
of Vocal Music," which was published bv Walsh & Hare, 



58 

from 1703 to at least 1722, in monthly numbers, might have 
been looked upon as supplying a clue, but such copies of the' 
earlier years as I have seen, pr^vokingly enough, give no 
address. I should, however, fix the date of Hare's giving up 
his shop in St. Paul's Church Yard as about the year 1706. 
His name, with the Cornhill address only, being present on 
Walsh's " Country Dances for 1708," and on Walsh's publica- 
tion, " The Union," a dance performed at Court in 1707. 
Richard Meares is, in 1722 and 1723 (probably' also prior), 
found at Hare's shop, The Golden Viol, in St. Paul's Church 
Yard. In Freeman's Yard, at the sign of the Viol and Flute, 
John Hare had a shop and dwelling house (with Daniel Defoe 
as a neighbour), doing a large trad? in music and instruments. 
One of his early publications from the Freeman's Yard address 
is mentioned by Dr. Rimbault in a communication to " Notes 
and Queries " (5th series, vol. V, p. 503). It is a copy, 
so far as title goes, of a work published by Henry Play- 
ford in 1700 and 1701, but the contents, of which Rimbault 
prints a list, are quite different. " A Collection of Original 
Scotch Tunes for the Violin ; the whole pleasant and comicall, 
being full of the Highland Humour, London, J. Hare, at the Viol 
and Harp, Cornhill, near the Exchange," oblong 8vo., no date. 
Rimbault supposes the year of publication to be 1704, which 
may be correct or may be two or three years too early. The 
sign the "Viol and Harp" may be an error of transcription, 
or possibly Hare's original designation for his house. As in 
the case of John Walsh, Brerriher, and others, Hare first 
adopted the ephithet "Golden" as a prefix to his sign, the 
Viol and Flute, but soon, like the others above named, the 
gilding on the emblems outside the shop must have got worn 
off or dirty, and not renewed, for on later imprints it does not 
occur. 

Hare still kept up his connection with John Walsh, whose 
shop in Catherine Street must have commanded a fast growing 
fashionable trade, especially as Walsh enjoyed royal favour, 
and his situation at the west-end of the town would give him a 
monoply ; for nearly all the rest of the music shops at this 
time were still clustered round St. Paul's and in the neigh- 
bouring Cornhill. At one time there are evidences that Hare 
& Walsh had quarrelled, for several of Walsh's plates, originally 
bearing Hare's name, have the latter erased by the scraper 
and burnisher. At a later date they came together again. 

It was perhaps about 1 720 that the name Joseph Hare 
first appears with that of his father on Walsh's imprint ; it is 



59 

present on the title page of Floridant, by Handel, first edition, 
folio [1722], " London, printed and sold by I. Walsh, and 
Jno. & Joseph Hare, at the Viol and Flute, in Cornhill, near 
the Royal Exchange," and on Dr. Croft's "Musica Sacra," 1724, 
of which Lowndes speaks as "the first work stamped on pewter 
plates," a statement not to be reconciled with that which has 
been made regarding Walsh, who is said to have commenced 
stamping pewter plates about 1710. 

There are other works which have John & Joseph Hare's 
name in conjunction, but none of these can be after September 
1725, at which time John Hare died. The numerous publica- 
tions with the simple initial " I. Hare," may be either Joseph 
or John, according to date. After his father's death Joseph's 
name, with that of Walsh, stands alone on the imprints, as on 
"The Merry Musician," vol. II, circa 1728 (the first volume 

bearing his father's name). " Sonatas of 3 parts out of 

Geminiani's Solos by Francesco Barsanti." " Babell's 

Concertos," etc. Joseph Hare, in 1728, subscribes for twelve 
copies of Galliard's " Hymn of Adam and Eve." After his 
death, which occurred in July, 1733, the business seems to 
have been left in charge of his widow, apparently under the 
management of John Simpson, but this was not for long, as 
there are indications that John Simpson soon took it over, 
while Mrs. Hare retired from the City to the purer air of 
Islington, dying in 1741, and being buried in the new vault in 
Saint Michael's Church, Cornhill, along with her father-in- 
law, her son, and her husband. I have been fortunate enough 
to find, among the records of the above church (which is the 
parish church for Freeman's Yard), some dates and particulars 
which fix more definitely the conclusions I had arrived at 
from other sources regarding the deaths, &c, of the Hare 
family. 
Burials — 1725, September gth, John Hare, in the New Vault. 

1728, April 28th, John, son of Joseph Hare and Elizabeth his 
wife. 

1733, July 17th, Joseph Hare, in the New Vault. 

1741, July 8th, Elizabeth Hare, widow from Islington, in the 
New Vault. 

Hare, Elizabeth. Probably a connection of the pre- 
ceding. It is not unlikely that 
she was a daughter of Joseph Hare, as his wife bore the 
same Christian name. She had a music shop also in 
or near Cornhill, but in a different part. Mr. John 
Glen, of Edinburgh, is in possession of two books of Country 
Dances for the years 1750 and 1751, with the following title 



60 

and imprint, " Twenty-four Country Dances for the year 1750, 

with proper tunes, figures, or directions to each dance The 

true genuine dances will be published every year in this 
volume and character. N.B. — There is just published a choice 
collection of Minuets and Rigadoons, for the violin, German 
flute, hautboy, or harpsichord, pr. 6d. Speedily will be pub- 
lished the second collections of Jiggs and Hornpipes, pr. 6d, 
London, printed for and sold by Elizabeth Hare, opposite the 
Mansion House, near Cornhill," oblong 8vo., p.p. 13 to 24, 
thus showing that the yearly dances must have commenced 
with those for 1749. The dances for 1751 bear the same title, 
and are paged from 25 to 36. In the British Museum (G 350) 
there is a sheet song having an imprint of the same name 
" On Windsor Castle, sung by Mr. Low, at the Theatre 
Royal in Drury Lane — (commences " Hail Windsor, etc.") — 
printed for Eliz. Hare, at the Viol and Hautboy, in Cornhill, 
near the Royal Exchange." I think that latter piece of music 
may be printed for the wife of Joseph Hare at the old shop, 
but with the emblems, Viol and Flute, changed to Viol and 
Hautboy, and not for the daughter who issued the dances for 
1 750- 1, from opposite the Mansion House. 

Harper, Thomas. An earl y printer from moveable 

type, whose earliest date, so far 

as my researches go, is 1633. " The Whole book of Psalms, 

with the Hymns London, printed by Thomas Harper, for 

the Company of Stationers, 1633" (Taphouse). He was the 
first printer employed by John Playford, and set up " The 

English Dancing Master London, printed by Thomas 

Harper, and are to be sold by John Playford," 1651, oblong 
4to. He probably also printed the second edition of the 
'•Dancing Master," dated 1652, but the imprint merely gives 
"printed for John Playford." He printed also for Playford 
the first edition of Henry Lawes' " Ayres and Dialogues," 
1653, folio. 

Harrison T. Succeeded to the business of a book- 
seller named J. Wenman, of Fleet Street, 
between September 1778 and April 1779, but at another address: 
18, Paternoster Row. He continued Wenman's series of old 
plays, and re-printed the older novelists and essayists, mostly 
in large octavo, illustrated by copper plates. The earliest of 
these plates bear the name J. Harrison, and the date April 1st, 
1779. So far as I have found, his earliest musical publication 
is the opera "Two to One," which has the engraved date of 
publication with the imprint. "July 5th, 1784, Harrison & Co., 



61 

1 8, Paternoster Row." Many other operas followed, all in 
oblong folio, with an oblong quarto edition for the flute. In 
November, 1788, Harrison & Co. are possessed of another 
warehouse, "Dr. Arne's Head," 141, Cheapside, corner of the 
New London Tavern, in addition to the shop at 18, Pater- 
noster Row. This latter address was continued until at least 
August, 1796. Afterwards (about 1798) the firm is styled 
Harrison, Cluse & Co., of 78, Fleet Street. Before 1802 they 
have removed to 108, Newgate Street. 

Harrison & Co.'s musical publications are all engraved, 
and, as before stated, include a number of the popular English 
operas, Handel's "Messiah," "The Chaplet," and "Solomon," 
by Dr. Boyce, "Spenser's Amoretti," by Greene, " Stabat 
Mater," Pergolesi, " The Laurel," by Baildon, " Lyric 
Harmony," by Dr. Arne, each two books, etc., all in oblong 
folio, with smaller editions. They published also in upright 
folio several collections of sheet songs, as "The Monthly 
Magazine," 1795, "The Lady's Musical Magazine," 1788, 
and "The Gentleman's" ditto; these have nicely engraved 
titles. Another of their issues was "The Pianoforte Maga- 
zine." This extended to about thirty volumes in large octavo. 
They also commenced a musical dictionary in oblong folio 
(letterpress), but from some reason, what promised to be a 
useful work, was cut short in its early numbers. 

Haviland, John. Printed from type an octavo 

volume " The Principles of 

Musick, in singing and setting with the two-fold uses thereof 

by Charles Butler, Magd., Master of Arts. London, 

printed by John Haviland, for the author, 1636." (Taphouse.) 
Butler was an Oxford author, who had previously written a 
book " The Feminine Monarchic, or the History of Bees," 
1634. 

Heptinstall, T. A printer of music from type, and 
the first to introduce the new tied 
note into type music printing. The earliest date I have 
found for his work is 1690, when he printed Purcell's " Songs 
in Amphitryon," and the latest 171 3. The new tied note 
referred to above was afterwards improved by William Pear- 
son. It was an innovation in type music for readiness of reading. 
By it the quavers and smaller notes were joined or grouped 
together, where previously they had all been printed separately. 
In engraved and written music, this had already been done, 
but that which could be easily effected by a graver or pen, was 
no easy matter in typography. The new notes too had the 



62 

advantage of round heads instead of lozenge shaped ones. 
Heptinstall, though he printed from the tied note in 1690 and 
later, yet his printing of the Dancing Master, 1703, was from 
the old form of type. 

1690 Songs in Amphitryon. .H. Purcell. .London, printed by 
J. Heptinstall, for Jacob Tonson, at the Judge's Head in 
Chancery Lane, 1690, 4to. 

1691 The Vocal Musick of the Prophetess, or the History of 
Dioclesian. .H. Pnrcell. .printed by J. Heptinstall, for the 
author, and sold by John Carr, 1691, folio. (Matthew.) 

A Song in the Double Dealer, sung by Mrs. Ayliff. .set by 
Mr. Henry Purcell. .. .printed by J. Heptinstall, for John 
Hedgebutt, folio. Also Songs in the Musical Play, Mars 
and Venus ; The Indian Queen, 1695 ; Don Quixote, printed 
for Samuel Briscoe, 1694, folio, etc. 

1695 Purcell & Blow; Three Elegies upon the much lamented 
death of our gracious Queen Mary. .London, J. Heptinstall, 
for Henry Playford, 1695, folio. (Matthew.) 

1693-96 Thesaurus Musicus, being a collection of the newest songs 
performed at their Majesties' Theatres, 5 books, 1693-96. . . . 
J. Heptinstall, for John Hedgebutt, folio. 

1695-96 Delicias Musicae..for Henry Playford, 4 books, 1695-96. 

1696 Ode on the Death of Mr. Henry Purcell, 1696, folio. 

1697 Te Deum and Jubilate. .H. Playford, 1697. 

1698 The Whole Book of Psalms, 4th edition .... printed by 
J. Heptinstall, for the Company of Stationers, and sold by 

1713 Samuel Sprint, at the Bell, in Little Britain, and byH. Play- 
ford, at his shop in the Temple Change, and at his house in 
Arundel Street, 1698. Ditto, the 12th edition, 1713. (Matthew) 

1702 The Metre Psalm Tunes for the Parish Church of St. 
Michael's Belfry, York. .London, J. Heptinstall, for Thomas 
Baxter, bookseller in Petergate, York, 1702, oblong 8vo. 
(British Museum.) 

1703 The Psalm Singer's Complete Companion, .by Elias Hall, 
1708, 8vo. 

Hill, Joseph. A celebrated violin maker, born in 1715, 
died 1784. He worked at ye Harp and 
Hautboy, in Piccadilly, about 1740, afterwards in High 
Holborn, then at ye Violin, in Angel Court, Westminster, and 
finally at the Harp and Flute, in the Haymarket, in 1762. 
He published from here some volumes of music, a copy of the 
title page of one is forwarded to me by Mr. Arthur F. Hill, 
his descendant, " A Set of Easy Lessons for the Harpsichord, 
dedicated to the Public, opera trentesima prima, London, 



63 

printed for and sold by Joseph Hill, musical instrument maker, 
at the Harp and Flute, in the Haymarket, where may be had 
Six Easy Lessons for the Harpsichord, by different authors, 
also a variety of Music and Musical Instruments." It has a 
curious preface signed J.M. 

Hindmarsh, Joseph. His name appears as pub- 
lisher on at least one work, 
printed by John Playford, junior: — "A Third Collection of 
New Songs, never before printed, the words by Mr. D'Urfey 

London, printed by J. P., for Joseph Hindmarsh, at the 

Golden Ball, over against the Royal Exchange, Cornhill," 
1685, folio. 

Hodgson, P. Maiden Lane, Covent Garden. A 
music engraver and music seller who 
issued many folio sheet and half sheet songs about the years 
1770 to 1780. A small oblong quarto collection of airs for the 
guitar (title page gone), containing an air from "The 
Deserter " (1773), has his name, with the address, as engraver. 
Most of his sheet songs are only to be recognised by the 
initials P.H. 

Hodsoll, "William. A music seller who in 1794 was 

at Seven Oaks, Kent, and who 
about or prior to the year 1800 entered into the premises 
formerly occupied by John Bland, at 45, Holborn. His name 
is in the directory for 1800 till at least 1830. He issued sheet 
music and sets of yearly country dances in the usual form, 
oblong 8vo and oblong 4:0. He published also two thin folio 
volumes entitled "Terpsichore's Gift," the work consists of 
his separately published sheet songs and pieces. Another of 
his publications, in oblong quarto, bears the same title and 
allegorical vignette. 

Hoffman, A. Issued a first book of Country Dances 
for the year 1796, " London, printed for 
the author, 124, Oxforfi Stt^et," oblong 4to. 

Hole, William & Robert. Engraved in 161 1 the 

celebrated work :— 
" Parthenia, or the Maydenhead of the first Musicke that euer 
was printed for the Virginalls : composed by three famous 
Masters; William Byrd, Dr. John Bull, and Orlando Gibbons 

Engraven by William Hole for Dorethie Evans, cum 

priviligo, printed at London by G. Lowe, and are to be sould 
at his house in Loathbury," no date, folio [161 1] . 



6* 

Copies in the British Museum, Bodleian, and Old Sacred 
Harmonic Libraries. It was reprinted by the Musical Anti- 
quarian Society. 

Robert Hole is said, by Chappell, to have engraved a 
work of similar character for the Virginals and bass viol, under 
the title " Parthenia Inviolate," not dated. 

Holland, Henry. Kept a music shop in St. James' 
Street, Piccadilly, and published 
about 1790 a little sheet music; his engraved label is also 
frequently found pasted on other sheets. He is probably the 
same Henry Holland, whose name as an organ builder in 
Little Chelsea is given in the Musical Directory for 1794. One 
sheet song, circa 1780-5, " Our Bottle and Friend," is ''sold 
for the author by Henry Holland, Bedford Row. 

Holloway, T. He was, up to 1S20-1, in partnership 
with Phipps, but at this date he set 
up for himself at 5, Hanway Street, and remained there till 
after 1853. He published a great deal of sheet music. About 
1825 he issued many songs, with comic illustrations etched on 
the title page and margins, as " O tis Love," "Bubbles," etc. 
About 1 81 5 a firm, Holloway & Co., wholesale music sellers 
and musical instrument makers, was at 40, Hart Street, 
Bloomsbury. Some sheet music bears this imprint. (See also 
Phipps &> Holloway.) 

Hopkins, F. S. 4 2 ' Bishopgate Street, Within, 
republished from the same plates a 
series of Country Dances in folio — " Davies' Occasional Col- 
lection of Popular Dances," originally engraved by J. Davies, 
of 90, High Holborn. Hopkin's reprint was probably about 
1 81 5, and no doubt he published sheet music. He was 
possibly afterwards partner in the firm Paine & Hopkins. 

Horn W. 8> Frederick Place, Borough Road, pub- 
lished sheet music about 1820-5. He was 
possibly a relation of the musician, C. E. Horn, as he published 
some of the latter's work. 

Horsfield, Robert. A bookseller who in 1763 was 

at the Crown, 22, Ludgate 
Street, and at 5, Stationer's Court, Ludgate Street, in 1775. 
He published two or more volumes of a song book in 121110., 
with the music type printed « Vocal Music, or the Songster's 
Companion." one volume of which is dated 1775. The fourth 
volume of the series was printed about 1778 by J. Bew. 
There are one or two editions of this work. 



65 

Hummell, A. Published about 1770 "A Collection of 

Lessons for the Harpsichord by Sigrs. 

Wagenseil, Bach., Agrell, etc., book first, London, printed for A. 
Hummell, at his music shop, facing Naussau Street, in King's 
Street, St. Anne's, Soho," oblong folio, also " Six Sonatas, for 

the Harpsichord by Christopher Wagenseil, op. prima," 

same imprint, oblong folio. 

Hunt, Richard. Published in 1683 a well-known, 
but scarce little volume : — " The 
Genteel Companion, being exact directions for the Recorder, 
with a collection of the best and newest tunes and grounds 
extant. London, printed for Richard Hunt, and Humphrey 
Salter, at the Lute, in St. Paul's Church Yard, 1683," oblong 
8vo., with a type printed title, music engraved. (British 
Museum, Taphouse, etc.) 

Jones, E. Printed from type in the lozenge shaped 

note the 8th edition of the " Dancing Master, 

1690, for Henry Playford." No printer's address being given. 

Tones & Co. 2 3> Bishopgate Street, Within, published 
"Twenty Four Country Dances for the 

year 1803 London, printed and sold by Jones & Co., at 

their music warehouse, No. 23, Bishopgate Street, Within," 
oblong 4_to. (Mr. Herbert Thompson.) They also published a 
volume under the title " The Gentleman's Pocket Companion, 
for the German flute." The name in the directory for 1802 is 
Tho. Jones, music warehouse, at the above named address. 
In 1 806- 1 809 Jones, Rice, & Co., who may be the same firm, 
are pianoforte makers, at 11, Golden Square ; in 1 805 they 
are " Coal Merchants " here — evidently a misprint. 

Jones & Company. Temple of the Muses in Fins- 
bury Square, succeeded to the 
business founded by James Lackington, a well-known and 
eccentric bookseller. I doubt whether they were connected 
with the Jones & Co. mentioned above. They came into 
great prominence as literary and musical publishers, about 
the year 1820-5, and held place till nearly the forties. 

They published a thick octavo volume of glees, &c, 
named " Social Harmony," republished " The Seraph," and 
printed from type George Thomson's Collection of Scottish 
Songs. This is dated 1834 and has the title " National 
Melodies of Scotland " ; whether a piracy of Thomson's 
famous work or not I am unable to say, but no reference is 
made on the title or elsewhere to him. Jones & Co. also 



66 

published the collection " Universal Songster," 3 vols., 1825, 
etc., without music. 

Johnson, John. At the "Harp and Crown, facing 
Bow Church, Cheapside." A pub- 
lisher of many important works. He was probably in busi- 
ness about, or prior to 1740, and may have then, or earlier, 
transferred to Cheapside the trade carried on by Daniel 
Wright, junior, in St. Paul's Church Yard. One is led to 
this conclusion by the fact that trace of Wright is lost at 
that period, and that one of Johnson's earliest publications is 
entitled "Wright's Country Dances," in two volumes, with a 
preface signed D. Wright, who was doubtless the Daniel 
Wright in question, and from the early character of the 
engraving it appears likely that the books are from plates 
originally issued by him. 

Besides yearly sets of twenty-four Country Dances, and 
volumes of two hundred of the same, Johnson issued a higher 
class of music, generally particularly well engraved, and printed 
on stout paper of good quality. In 1760, when Charles 
Dibdin first came to London he got employment here as a 
harpsichord tuner. About 1762 there are indications that 
John Johnson had died, and that he was succeeded by his 
widow, for the name, " Mrs. Johnson," is appended to one or 
more pieces of music which have this engraved date. In 1763, 
however, the old name, John Johnson, is resumed, whether by 
reason of a son of the same Christian name holding the shop, or 
from the retention of the old name, I am unable to say, but 
" John Johnson " for the second time remains on the imprints 
till 1765 or 1766. 

In 1766 or 1767 James Longman & Co. opened a music 
shop at 26, Cheapside, which did not face Bow Church, but was 
nearer St. Paul's, between Old Change and Friday Street, and 
it remained for many years in the hands of the firm and their 
successors. James Longman and his partners seem to have 
obtained the right to use Johnson's sign, the " Harp and 
Crown," though it appears as if Robert Bremner had got most 
of the plates, for in the list of Bremner's publications purchased 
by Preston in 1789, many are easily identified. 

Longmans' used the imprint " Harp and Crown, 26, 
Cheapside " for some years, but in due course changed the 
sign to " The Apollo." 

Meanwhile, Mrs. Johnson did not abandon the premises 
"facing Bow Church," which now bore the number no, 
Cheapside, though there is no mention of the " Harp and 



67 
Crown ; I cannot trace any of her issues later than 1771. 

The following are some few of Johnson's publications : — 

C. 1735 or 1740. Wright's Compleat Collection of Celebrated Country 
Dances. . . .Vol. I, printed for I. Johnson, musical instrument 
maker, at ye Harp and Crown, in Cheapside, London, 
oblong 8vo. (Taphouse.) 
Ditto: reprinted about 1750, with alterations. 

C. 1740. A Favourite Concerto .... Sig. Hasse, set for the Harpsi- 
chord Ino. Iohnson, Harp and Crown. (A fulio sheet.) 

C. 1740. The Pleasant Musical Companion. .. .J. Johnson, at ye 
Harp and Crown, facing Bow Church, in Cheapside, oblong 
4to. A copy of Henry Playford's earlier publication with 
same title. (Taphouse ) 

1744. A Choice Collection of 200 Favourite Country Dances, vol. 
3, 1744, J. Johnson. . . .where may be had Wright's 1st and 
2nd volumes of Dances, oblong Svo. (Bodleian.) 

1748-51. Ditto, vol. 4, 1748 ; vol. 5, 1750; vol. 6, 1751. 

C 1748. Caledonian Country Dances, 3rd edition, oblong 8vo. (bears 
a M.S. date 1750, volume II advertised on vearly dances for 
1755)- 
1749. Twelve Country Dances, for the harpsichord, for 1749, 
oblong Svo. (Glen.) 

1752. Twenty-four Country Dances, for 1752, oblong Svo. (Glen.) 

Ditto for 1755 ; Ditto, 1765 ; Ditto, 1766. (All these dances 
were published in the autumn of the vear prior to their 
date.) 

1747. Eight Setts of Lessons for the Harpsichord, by James 
Nares. 1747, oblong folio. 

C. 1748. Eight Suits of Easy Lessons for the Harpsichord, Mr. 
Felton, folio. 

C. 1755 A Collection of English Songs and a Cantata. .. .Edward 
Miller, folio. 

C. 1755. Six Sets of Lessons for the Harpsichord, composed by Mr. 
Gillier, oblong folio. 

C. 1755. Twelve English Songs, serious and humorous. .. .by the 
newly invented method of composition with the Spruzzarino 
. . . .for the author. (Taphouse.) [This is by B. Gunn, and 
is an interesting reply to a satirical attack made by William 
Hayes, of Oxford, who practically accused Gunn of splashing 
music paper with ink and merely adding tails and strokes so 
as to form musical notes,] 

1756. Six Concertos for the Harpsichord .... by Thomas Chilcot, 
of Bath. 1756, folio. 

1758. The Whole Book of Psalms .... set to music by Mr. John 

Travers, folio. 
1758. The Harmonical Miscellany, by F. Geminiani ; No. I 

printed for the author. . 1758, folio. 
1761. Worgan's 10th book of Songs, 1761, folio. 



68 

1763. Piece de Clavecin by F. Geminiani. . ..for the author, 
1763, folio. 

C. 1763. Artaxerxes Opera, by Arne, oblong folio. 

(All the above bear the imprint of John Johnson ; the follow- 
ing that of Mrs. Johnson). 

1762. Second Collection of Pieces for the Harpsichord. .. .by F. 
Gemiriani, London, printed for the author by Mrs. Johnson, 
in Cheapside, 1762, folio. 

1765. Catches, Glees, and Canons. .. .composed by Dr. Hayes, 
Book II, printed for fhe author, T765, and may be had of 
him in Oxford, Mrs. Johnson, opposite Bow Church, Cheap- 
side, London, and Mr. Bremner, in Edinburgh, oblong folio. 

1770-1. Worgan's nth Book of Songs, 1770; Ditto, 13th Book, 
1771, Mrs. Johnson, no, Cheapside. 

Johnson, R. Published about 1810 "Three Waltzes 
for the Pianoforte, by Mozart, London, 
printed for R. Johnson, New Bond Street," folio. 

Johnston, John. He was the publisher of some of 
Charles Dibdin's early works, 
which include the opera "The Padlock," acted in 1768. 
In 1769 Johnston published several musical works in connec- 
tion with the Stratford Jubilee. His first address was No. 11, 
(corner of) York Street, Covent Garden, and afterwards to an 
address or addresses in the Strand, which are variously termed : 
"Opposite Lancaster Court," "Near Northumberland House," 
" Near Exeter Change." Johnson was in York Street in 1770, 
and "Near Exeter Change" in 1773. He published "The 
Waterman," acted 1774, and probably about this year or 
shortly afterwards ceased business. On some of his later 
imprints Longman and Lukey's names occur ; they seem also 
to have afterwards bought the plates and re-issued some of the 
operas. 

Johnston's publications include, " Shakespear's Garland," 
folio, 2 books, and one or two other publications connected 
with the Jubilee in 1769; " Six Select Songs and a Cantata, 
by James Newton," circa 1774 ; " Twenty-four English 
Country Dances, by V. Southern," dated 1773, oblong 4to, 
and some other dances, as well as larger works. His operas 
include, " Lionel and Clarissa," " The Padlock " (both acted 
in 1768), " King Arthur," altered from Purcell (performed 
1770), " The Deserter " (acted 1773), and " The Waterman " 

(1774)- 

KauntZ, G. Published a sheet song : — " Croppies lie 

Down, a favourite Irish song, printed by 

G. Kauntz, opposite the Admiralty." The Directory for 1802 



69 

gives, " Kauntz & Hyott, music sellers, 2, St. James Street." 

Kearsley, G. A Fleet Street bookseller, who in 1760 
printed and published an engraved folio 
volume " by assignment from Dr. Arne," — " The Monthly 
Melody." He afterwards used the sign the " Johnson's Head," 
and he and his successors were important literary publishers 
well into the next century, but I have found no other musical 
work of theirs than the above. 

Kelly, Michael. Another musician publisher who, if 
the story is true, also " composed 
wines and imported music." Before 1803 he had a shop at 9, 
Pall Mall, named " The Music Saloon," and became bankrupt 
here in September, 181 1. He published a few works from his 
house, g, New Lisle Street, Leicester Square, including his 
opera " Of Age To-morrow " [1805] . 

Kelly, Thomas. x 7> Paternoster Row, published 
" The New Musical and Vocal 
Cabinet, 1820," 2 vols., i2mo. The music is from moveable 
type. 

Kingston, John. Was an early printer who printed 
books between 1553 and 1584, 
having a shop in St. Paul's Church Yard, near the west door. 
He is said to have printed two books of " Instructions for the 
Lute," besides two or three editions of the " Sarum Missal," 
etc. Johnson's Typographia gives the date of the first lute 
book as 1568, in broad quarto, and the other 1574. This latter, 
by Le Roy, is in the British Museum. 

Kitchin, Thomas. In Bartlett's Court, near St. 

John's Gate, Clerkenwell, pub- 
lished " The English Orpheus." This is a quarto engraved 
publication, with each song headed by an illustration ; it was 
afterwards republished as an entirely new work in 1745 by 
Newbery, under the title " Universal Harmony," with all 
trace of the original publisher's name, and the name " English 
Orpheus " erased from the plates. Many of these plates are 
dated 1743, with the first title engraved at the top and Kitchin's 
name at bottom of each ; he was presumably the engraver. 
The work must have come forth in numbers, I have never 
seen a title page. 

Knibb Thomas. Published a small engraved book 

of Psalms entitled, " The Psalm 

Singer's Help, being a collection of Tunes in three parts 



10 

London, printed for and sold by Thomas Knibb, near Spital 
Square, Bishopgate, without ; also by G. Keith, Gracechurch 
Street, and at Messrs. Straight & Skillern's music shop, in 
St. Martin's Lane, the end next the Strand," iztno., circa 1775. 

Lane, Newman, & Co. Leadenhall Street, pub- 
lished in London many 
song books, printed and sold by Oliver & Boyd in Edinburgh. 
Two of these having music printed from type are " The 
English Minstrel," and " The Scottish Minstrel," the latter 
dated 1807, i2mo. ; some copies have Oliver & Boyd's imprint 
and others the London firm's. Before 181 1 the house was A. 
K. Newman & Co., the publishers of the well known " Minerva 
Press " series of novels. 

Latham, George. His name appears on " Ayres or 
Fa las, for three voyces, by John 

Hilton printed by Humfrey Lownes, and are to be sold by 

George Latham, at the Bishop's Head, in Paul's Church 

Yard, 1627," i2mo., and on " The Seventh Set of Bookes 

by Michael East printed for William Stansby and George 

Latham," 163S, 4to. 

Latour, Francis Tatton. Was first in business 

with Samuel Chappell, 
but about 1826 founded one of his own at 50, New Bond 
Street, where he published sheet music. About 1830 Chappell 
bought Latour's stock and copyrights and removed into his 
premises. 

Lavenil, Lewis. ^ s appears by an advertisement in 
the Times of April 4th, 1796, was 
at 23, Duke Street, St. James, and with this address he pub- 
lished a set of dances for 1798. A sheet song with the 
engraved date, October, 1800, shows that he was then at 29, 
New Bond Street, and music seller to the Prince of Wales. 
In 1803 he had entered into partnership with Mitchell. In 
1806 and 1807 Lavenu & Mitchell's number in New Bond 
Street was 26, but in 1809, and onward till after 1838, the 
premises are numbered 28, New Bond Street. It may be 
here as well to mention that so far as change of number goes, 
all music sellers who established themselves in Bond Street 
developed a fidgetiness difficult to account for. As these 
changes in the numbers of their shops did not all occur at the 
same time, it does not seem to be altogether owing to are-num- 
bering of the street. In 1809 Mitchell appears to have dropped 
out of the firm, and L. Lavenu stands alone. Mitchell was 



71 
probably the same who about this time published from 159, 
New Bond Street, and Southampton Row. 

In 1838 the firm at 28, New Bond Street is Mori & 
Lavenu ; this was the son, Louis Henry, in partnership with 
Mori, the musician. 

Meanwhile about 1820 there is a publisher of music, E. 
Lavenu, at 24, Edwards Street, Manchester Square, who was 
in existence to at least 1826. 

All the Lavenus issued sheet music ; at the earlier period 
generally coarsely engraved on blue tinged paper. 

LawSOn, H. A musical instrument maker at 29, St. 
John's Street, Fitzroy Square, in 1802 
and 1807. He may have published some small musical works. 
About 1820-5, J. Lawson, of 198, Tottenham Court Road, pub- 
lished No. 6 of " A Collection of Popular Dances," folio, and 
some sheet songs from the same address. 

Lewer, J. Re-published about 1760 a charmingly en- 
graved quarto book of songs and music, 
entitled " Amaryllis." The work is in two volumes, and has 
each plate headed by an illustration ; it was first published in 
1749 by J. Tyther, to whose music shop Lewer succeeded ; it 
was again re-issued by Longman & Lukey. Lewer's imprint 
is : "J. Lewer, musicall instrument maker and musick printer, 
facing to Broad Street, Moorfields." 

Lewis, Houston & Hyde. Succeeded J. Bland at 

45, Holborn, sometime 
near the year 1796. The Hyde was probably Fredk. Aug. 
Hyde who, with Collard and Davis, went into partnership with 
Clementi about 1798. They published sheet music, and either 
followed or preceded F. Linley. In 1794 there was a firm of 
pianoforte makers named Houston & Co. at 54, Great Marl- 
borough Street. 

Light, Kdward. Lived at Kensington in 1794. He 
was, if not the absolute inventor, 
the maker of the instrument known as the harp-lute, popular 
about a hundred years ago, and less. He was also a teacher and 
performer on the guitar, and issued many books of instructions 
and lessons for the two above-named instruments. In several 
title pages he claims to be the inventor of the Harp- Lute or 
Apollo- Lyre, and lyrist to the Princess of Wales; his address 
is given as 8, Foley Place, near Cavendish Square. At a 
later date Wheatstone & Co. make Harp- Lutes, and publish 
instructions for the same by John Parry. 



72 

Linley, F. Was successor to John Bland, of 45, Hol- 
born, near the year 1796-7. He published 
sheet music and the 8th book of Glees by S. Webbe. William 
Hodsoll had taken over the business prior to 1800. 

Lisle, Laurence. Published in 1614 " Ayres made 

by several authors and sung in the 

Maske of the Marriage of the Rt. Hon. Robert, Earle of 

Somerset London, printed for Laurence Lisle, dwelling at 

the signe of the Tiger's Head, in Paul's Church Yard," 1614, 
4to. A copy in the British Museum. 

Locke, W. I2 > R e d Lion Street, Holborn, published 
an oblong 4to volume (type printed), 
" The Anacreontic Magazine," the engraved title page is dated 
1792, the work was continued by Goulding. 

Longman & Co. I n or before the year 1767, James 
Longman, with others were estab- 
lished at the Harp and Crown, 26, Cheapside ; the same sign 
as John Johnson's, but not in the same premises as his which 
were facing Bow Church, while Longman's shop was between 
Friday Street and Old Change, on the opposite of Cheapside 
and nearer St. Paul's. John Johnson at this time disappears 
from the music trade, and it is likely that the Longman firm 
had bought his goodwill or adopted his emblem. Robert 
Bremner seems to have become possessor of his plates. 

Some of the very earliest of their publications were the 
yearly sets of Minuets and Country Dances for 1768, published 
in the autumn of 1767. These they continued through a long 
series of years, the pagination running continuously until two 
hundred dances had been reached, when the dances were 
re-printed and issued in volumes. The dances for 1768 start 
at page 1 ; for 1770 at page 25 ; for 1 772 at page 49 ; etc. Other 
works of the same early period are " Compleat Instructions for 
the Guittar," " Twelve Songs and a Cantata for the Guittar," 
and several companion works in oblong 4to. All these early 
publications have the imprint "J. Longman & Co., Harp and 
Crown, 26, Cheapside," and the firm is first mentioned in the 
Directory in that for 1770, where it is given as "James Long- 
man & Co., musical imstrument makers, 26, Cheapside." In 
the latter part of the year 1771 the firm was Longman, Lukey 
& Co., and this remains till 1777 or 1778, when it is styled 
Longman, Lukey & Broderip, the last named being either 
Robert Broderip, a Bristol organist, or his father, John 
Broderip, of Wells. 



73 

In 1779 Lukey is absent from the firm, which now 
remains as Longman & Broderip and exists till 1798, in which 
year it becomes bankrupt, and the original James Longman 
had given place to John Longman. 

Before 1785 Longman & Broderip had taken another 
branch shop at 13, Haymarket, and their business had grown 
to an enormous extent. At the dissolution of the firm John 
Longman entered into partnership with Clementi, the musician, 
retaining the shop at 26, Cheapside, and Broderip had com- 
bined with Wilkinson and continued the business at 13, Hay- 
market (for accounts of these later firms refer to their respec- 
tive headings in the present volume). About 1801 or 1802 
John Longman left the firm of Longman & Clementi, and set 
up for himself at 131, Cheapside (Directory for 1802). He 
here published " A Selection for the Present Season of the 

most popular Dances, Reels, Strathspeys with proper 

figures," in numbers, folio, and some sheet songs, one of which 
has the imprint " Longman & Co., 131, Cheapside, from 26." It 
is likely that he was not in business very long. 

James Longman & Co., before the entrance of Lukey into 
the firm, published in general small works for the guitar, 
violin, etc., and Country Dances. Longman, Lukey & Co. 
extended the business greatly and issued larger and more im- 
portant works. In Longman & Broderip's time their publica- 
tions were practically limitless, and include a very large 
number (about a hundred) of the English Operas then being 
produced, almost always in the oblong folio form. The sign 
" Harp and Crown " appears only to have been used in the 
very earliest period, before Longman & Lukey. In Longman 
& Broderip's it was changed to " The Apollo." At one time 
Longman & Lukey's names are found on some of John John- 
son's issues, they afterwards bought his plates for the " Pad- 
lock," and other works. The following are a few characteristic 
publications of the different periods. 

J. Longman & Co., Harp and Crown, 26, Cheapside. 

New Minuets for the year 176S ; do. 1770, oblong 8vo. 

Twenty-four Country Dances for 1770, oblong 8vo. 
Circa Compleat Instructions for the Guittar, oblong 4to. 
1767 Twelve New Songs and a Cantata, oblong 4to. 
to Twenty-four Easy Airs, by R. Haxby. 

1770 Eighteen Duettinos, by Wm. Bates 

Love in a Village, folio ; etc , etc. 

Two Concertos, by J. Stamitz. 

Six Easy Hymns or Anthems, by Edward Clark. Organist of 

St. Paul's. 



74 

Longman, Lukey & Co. 

Twenty-four Country Dances, for 1772, oblong 8vo. 
Twenty-four new London Contra Dances, for 1776. Ditto 
for 1778, oblong 8vo. Also Minuets for the above years. 
Six Glees for three voices, by John Broderip, folio. 
The Ladies Frolick, a comic opera (1778), oblong 4to. 
Songs, etc., in The Institution of the Garter (1771). 

The Comic Tunes, Songs, and Dances in the Pigmy Revels, 
by C. Dibden (acted 1773), folio. 

The Golden Pippin (1773) 

Twelve Songs, by Jackson, of Exeter, folio, and others by 
the same. Sheet Songs and other publications. 

Longman & Broderip. 

The English Operas in oblong folio, numbering over a 
hundred. 

Longman & Broderip's Compleat Collection of 200 favourite 
Country Dances, Vol. I and II, advertised in Longman's 
list for 1781-2 ; also annual Collections of Minuets. 
A Musical Fan, with Country Dances engraved on it, and 
several packs of cards bearing Country Dances. 

Longman & Broderip's Selection of the most favourite 
Country Dances, Reels, etc., a 1st, 2nd, 3rd, and 4th selection 
in oblong 4to., with numerous other collections of dances. 
Longman & Broderip published such quantities of musical works 
that it is here impossible to give any proper idea of their scope. They 
also made musical instruments of every description, Harpsichord, Piano- 
fortes (one of these latter so small as to be used in a coach, and so advertised. 
Mr. Taphouse, of Oxford, has one of them), Spinets, Pedal Harps, 
Guitars, etc., etc In addition to the engraved lists on sheet music, the\' 
also published octavo type printed catalogues of their new music, dated 
1781-2, September 1786, April 1789, 1790, etc. 

Lownes, Humfrey Humfrey Lownes was an early 
A TV/T ++Vi printer succeeding at the 

ana IViattnew. same address, Peter Short, who 

dwelt "at the signe of the 
Starre, on Bred Street Hill." Peter Short, whose latest date 
is about 1603, printed in 1597 Thomas Morley's " Plaine and 
Easie Introduction to Practical Musicke," and of this work 
Lownes made an exact reprint in 1608, using the same 
elaborate woodcut title page (small folio). If title pages are 
absent (frequently the case) the two editions are difficult to dis- 
tinguish, but the 1597 has an errata on last page of "Annota- 
tions," and at the front the notice "To the Curteous Reader," 
in 1597 has the catch word "although " at the foot, and the 
1608 the word " may." 



75 

At a later date another Humfrey Lownes, probably a 
grandson, and son of the following Matthew Lownes, printed 
Hilton's book of " Ayres or Fa las, for three voyces, 1627," 
no address is given. Matthew Lownes was a bookseller, and 
possibly a printer whose name and initials occur on musical 
work? printed by Snodham and other printers between 1610 
and 1624. Michael Este's " Third set of Bookes, wherein are 
Pastorals, Anthemes,"etc, dated 1610, is "printed by Thomas 
Snodham, and are to be sold by Matthew Lownes, dwelling 
in Paule's Church Yard, at the signe of the Bishop's Head, 
1610." 

MaCOCk, J. Printed in 1672, " An Essay to the 
advancement of Musick, by casting away 

the perplexities of different cliffs by Thomas Salmon 

London, printed by J. Macock, and sold by John Car, at the 
Middle Temple Gate, 1672," i2mo. ; a famous book that 
occasioned much controversy. Another of Macock's printing 

is " The Whole Book of Psalms Sternhold & Hopkins and 

others London, printed by J. M., for the Company of 

btationers, 1687." Other earlier editions of Sternhold & 
Hopkins' Psalms, with the music, are printed for the Com- 
pany of Stationers by G. M., in 1632 and 1642, etc., 
probably the father of J. Macock. 

Magazines. The eighteenth century London maga- 
zines in general devoted a page or two 
every month to poetry, which included the songs then singing 
at the theatres, and frequently in addition were given songs 
with the music, and perhaps also a fashionable country dance 
tune. Other London magazines, which were almost entirely 
devoted to music, are mentioned in the present volume under 
the headings of their respective publishers ; some of the 
literary ones spoken of above are the following :— 

The Gentleman's Magazine commenced with music in 
October, 1737, and had music in every volume till 1756, with 
several scattered pieces afterwards. The music was cut upon 
wood. 

The Universal Magazine commenced in July, 1747; music 
first started in- 1748 or 1749; music in every volume up to 
1776. Music cut in wood. 

The New Universal Magazine published an engraved 
music sheet every month, headed with pictorial illustrations by 
B. Cole. It was first published in 1751 by M. Cooper, at the 
Globe, in Paternoster Row, probably son of the T. Cooper, at 
the same address mentioned under the heading Bickham in the 



76 
present work. The New Universal Magazine ran till at least 

1758- 

The London Magazine, The Lady's, The Royal, and the 
European, all published a music page, either set up in type or 
cut in wood. 

Later than these, in the early years of the succeeding 
century " La Belle Asemblee," " The British Lady's Maga- 
zine," and others similar had engraved sheets of music as part 
of their contents. 

Major, R. 7> High Holborn, published Twenty-four 

Country Dances for 1820, and engraved, 

printed and edited a small quarto work in numbers :—'• The 

Musical Companion, or Complete Pocket Museum, for the 

Flute," reaching to at least four volumes, circa 1825-30. 

Mayhew & Co. The firm commenced as Phillips, 
Mayhew & Co., who were at 17, Old 
Bond Street, as music sellers to the Duke and Duchess of 
Kent in 1819. There was, in 1802, a William Phillips, who 
was a musical instrument maker on Little Tower Hill, it is 
possible he may be of the above. They published sheet music 
and some time near the year 1822 the firm became Mayhew 
& Co. at the same address, who were in existence till about 
1835, when Leoni Lee is "music seller to his Majesty," at 
the same address. Mayhew & Co. were prolific publishers of 
sheet music, principally songs. 

Meares, Richard. A music printer and musical 
instrument maker of some import- 
ance, who was established at the Golden Viol and Hautboy, 
in St. Paul's Church Yard, in or before 1714. The Hautboy 
of the sign was soon dropped, and this afterwards remained as 
the Golden Viol. There seems a likelihood that he took over 
John Hare's old shop, which, in turn, had also belonged to J. 
Clarke, for both these adopted the sign of the Golden Viol, 
and were in St. Paul's Church Yard. 

One of the earliest books of Meares' I have seen is 
" Pieces de Clavecin," by J. Matheson, 1714, in Mr. Tap- 
house's library. Regarding this work Hawkins tells an 
anecdote of Handel, " Matheson had sent over to England, in 
order to their being published, two collections of Lessons for 
the Harpsichord, and they were accordingly engraved on 
copper and printed for Richard Mears, in St. Paul's Church 
Yard, and published in the year 1714. Handel was at this 
time in London, and in the afternoon was used to frequent St. 
Paul's Church Yard for the sake of hearing the service and of 



77 

playing on the organ after it was over, from whence he and 
some of the gentlemen of the choir would frequently adjourn 
to the Queen Anne Tavern, in St. Paul's Church Yard, 
where was a harpsichord. It happened one afternoon when 
they were thus met together, Mr. Weely, a gentleman of 
the choir, came in and informed them that Mr. Matheson's 
lessons were then to be had at Mr. Mears' shop, upon which 
Mr. Handel ordered them immediately to be sent for, and 
upon their being brought, played them all over without rising 
from the instrument." 

Meares printed, circa 1722 or 1723, the additional airs in 
Handel's " Floridante," and other works, some of which are 
mentioned below. Mr. Arthur Hill possesses, among his 
large and curious collection of trade cards, one issued by 
Meares in three languages, English, French, and Italian, as 
follows : — " Musical Instruments, viz., all sorts of Harps, 
Lutes, Gittars, Violins, Base Viollins, Base Viols, Tenor 
Violins, Viols D' Amour, Trumpet- Marines, and all other 
sorts of Musical Instruments curiously made to the greatest 
perfection by Richd. Meares, at the Golden Viol and Hautboy, 
in St. Paule's Church Yard, London, where is sold the best 
French and Italian and Roman strings : also all foreign and 
domestiok Musick, printed and sold wholesale and retail." 

I have not been able to discover in what year Meares 
ceased business ; probably it was before 1730. 

1714 Pieces de Clavecin en deux volumes. . . .par Mr. J. Matheson 
Seer 1714, London, printed and sold by Richard Meares, 
Musical Instrument Maker and Musick printer, at the 
Golden Viol and Hautboy, in St. Paul's Church Yard, folio. 
(Taphouse.) 

The Anthem which was performed in King Henry the 
Seventh's Chapel, at the funeral of the most noble John, 
Duke of Marlborough. .. .by M. Bononcini. Thos. Cross, 
sculp. London, printed for Richard Meares, musical instru- 
ment maker, at the Golden Viol, in St. Paul's Church Yard, 
folio. 

Musicus Apparatus Academicus, Being a Composition of 
Two Odes. . . .performed in the Theatre at Oxford, on Mon- 
day, July 13th, 1713 set to musick by Wm. Croft.... 

London, printed for the author. .. .and at Richard Meares, 
musical instrument maker and musick printer, in St. Paul's 
Church Yard. Engraved by Thos Atkins. (2 vols., folio, 
with finely engraved title page). (Taphouse.) 

1722-3. All the Additional Celebrated Aires in the Opera of 
Floridante, composed by Mr. Handel, London, printed for 
Richard Meares. . . .Golden Viol, folio. 



78 

1723. An Introduction to Psalmody. . . .by John Church. . . .Lon- 
don, engraved by T. Cross for R. Meares, musick printer, at 
the Golden Viol, in St. Paul's Church Yard, 1723. Svo, 
engraved. 

Meere, H. A printer, sometimes confused with the 
above. He printed from type for Walsh, 
senior, the two following works : — "The Merry Musician, or 
a Cure for the Spleen," vol. 1, 1716, and "The Compleat 
Country Dancing Master," vol. 1, 1718, and vol. 11, 1819. 
These are the only works I have found having his imprint ; 
his address is not given. 

Midwinter, D. (and Edward) These were book- 
sellers, presum- 
ably father and son. In 1708, J. Heptingstall printed for D. 
Midwinter the " Psalm Singer's Compleat Companion," by 
Elias Hall, "printed for D. Midwinter, at the Three Crowns, 
in St. Paul's Church Yard, and sold by W. Clayton, book- 
seller, in Manchester, 1708," 8vo. 

About 1725 Edward Midwinter's name occurs on the 18th 
edition of the " Dancing Master," as selling the same at the 
Three Crowns, in St. Paul's Church Yard, and at the Looking 
Glass, on London Bridge." His name and these two addresses 
are also on a non-musical work, " New Remarks of London," 
1732. 

Mitchell, C. Published sheet music about 1805 from 

51, Southampton Row, Russell Square. 

On " Mitchell's Selection of Dances," sheet folio, circa 181 5, 

the address is changed to " 159, New Bond Street, opposite 

Clifford Street." 

Monro, J. His first address, about 1810-12, was at 60, 
Skinner Street, Snow Hill, Holborn, and 
from here he issued sheet music and published yearly sets of 
Country Dances in oblong 8vo., for 1817, 1818, 1820, 1821. 
A great number of his sheet songs and publications are 
arranged and composed by himself. One of these is a song with 
music on the death of the Princess Charlotte of Wales ; printed 
on this is a list of his publications. A large work in three 
octavo volumes is " The Gleaner, or Select Flute Miscellany 

compiled, arranged, and partly composed by J. Monro." 

This appeared in numbers, the first of which is after 1820. 
All the above named have the Snow Hill address, but before 
the year 1834 he had entered into partnership with another, 
and the firm, as Monro & May, had removed to 11, Holborn 
Bars, producing a similar class of work, and still continuing 



79 

the yearly oblong Country Dances ; one set is for 1834. They 
are in business at Holborn Bars till at least March 1847, but 
as their name does not occur in the Musical Directory for 
1853, it may be presumed that the house is then non-existent. 

Monzani, Theobald. Had a music shop, according 

to an advertisement in the 
♦Times,' of May gth, 1799, in Pall Mall. In the Directory 
for 1802 the entry is Monzani & Cungdor, 2, Pall Mall. In 
1806 he is alone and is a music and instrument seller, at 3, 
Old Bond Street,* where in 1807 the firm is Monzani & Co., 
and in 1808 and 1810 Monzani & Hill; about this time they 
have also an address at 100, Cheapside. At a later date (about 
1 81 5) Theobald Monzani & Co. are music sellers to the Prince 
Regent at 24, Dover Street, Piccadilly. They published sheet 
music, vocal and other kinds, including some Italian songs for 
three voices, in oblong folio, from here, and about 1820-25 
songs with the imprint, " Monzani & Hill, music sellers in 
ordinary to His Majesty, 28, Regent Street." 

Mori & LavenU. The first was Nicolas Mori, the 
violinist, and the other Louis 
Henry Lavenu, both noted performers. They were in partner- 
ship during the thirties at 28, New Bond Street, and published 
some sheet music. Mori died in 1839. (See Lavenu.) 

Morley, Thomas. The musician who had granted 

to him by Queen Elizabeth 
a continuation of the monoply in music printing and 
importation enjoyed by William Birde and Thomas Tallis, 
the full details of which are to be found in the Introduction to 
the present work. Morley had been a pupil of Birde, and, like 
his master, was a gentleman of the Chapel Royal ; he was 
admitted in July, 1592. 

Although Birde was still alive, the patent which had been 
granted to him for twenty-one years was after its expiration, 
and in 1598 transferred to Morley. Morley died in 1604 and 
his patent was afterwards held for some years by William 
Barley. 

Though Thomas Morley cannot have been a printer, yet 
" Madrigals to five voyces, by Richard Carlton," bears the 
following imprint : — " London, printed by Thomas Morley, 
dwelling in Little St. Helens, 1601," 4to. This seems to be 
the only instance of his name appearing thus. 

Murgatroyd, J. 73> Chiswell Street, His name, in 
1797, is attached as publisher to a 
thick oblcng octavo book of Psalm Tunes, as under. The 
* H. Falkner was at this address in 182 1. 



80 

book is printed from stamped pewter plates, including the 
prefixed Introduction to Singing. " A Collection of Psalm 
Tunes, for publick worship, adapted to Dr. Watt's Psalms 

and Hymns by Stephen Addington, D.D., the twelfth 

edition, printed for and sold by J. Murgatroyd, Chiswell Street, 
London, 1797," oblong 8vo. 

Napier, William. A Scotch music seller who was 
born about 1 740-1 and in busi- 
ness in London some time before 1773 at a shop, the corner of 
Lancaster Court, being No. 474, in the Strand. From this 
address he issued a great many publications of importance in 
his period. These include instrumental music, sheet and half 
sheet songs, principally Scottish, arid collections of dances, 
etc. He published also some operas in oblong folio as "The 
Flitch of Bacon" (1778), "The Maid of the Mill" (1782), 
" Rosina " (1783). These, along with other works, were sold 
to J. Dale before the year 1786. 

In Sibbald's Edinburgh Magazine for 1789, p. 207, it is 
recorded that " when John Samuel Schroeter came to London 
he was recommended by J. C. Bach to Napier, who soon dis- 
covered his merits as a composer, and purchased the copy- 
right of his works at a liberal price." 

Sometime shortly before the year 1790 Napier removed 
to 49, Great Queen Street, and from here published a folio 
collection of Scots Songs in numbers, extending to three 
volumes, the third of which is not common and was perhaps 
not fully completed. The first and second volumes have 
frontispieces by Cos way and Hamilton, engraved by Barto- 
lozzi; the first of these plates is dated Feb. 1st, 1790, and the 
other 1792, both having the address 49, Great Queen Street, 
Lincoln's Inn Fields. He was here till after 1794, but near 
the end of the century removed to Lisle Street, Leicester 
Square, from whence he published some sheet music and a 
selection of dances, etc., in folio. 

The earliest notice I have found of Napier is as a sub- 
scriber to Eastcott's Sonatas, dated January, 1773, in which 
" Mr. Napier, Strand," is mentioned as taking six copies. 

William Napier, as indicated in the Musical Directory 
for 1794, was a public performer on the violin and was not 
only " music seller to their Majesties," but a member of the 
Royal Band, no doubt playing his part as best he might, 
in those famous royal family music meetings, where George III 
so contentedly sawed away on his violoncello. A notice of 
his death is given in the Scots Magazine for August, 1812, as 



81 
follows: — " Died lately at Somerston [query Somers Town, 
London] Mr. William Napier, in the 72nd year of his age. 
He was distinguished for his musical skill and for the beauti- 
ful selections of Scotch ballads, which he edited. For many 
years he belonged to his Majesty's band, but was obliged to 
retire on account of the gout in his hands, to which he became 
a victim." 

The following are some few of his publications ; his sheet 
music is very frequently merely stamped with the letters 
W. N. 

C. 1774-5. The Favourite Minuets performed at the Fete Champetre, 
given by Lord Stanley at the Oaks, and composed by the 
Rt. Hon. the Earl of Kelly. . . . London, printed for and sold 
by William Napier, the corner of Lancaster Court, Strand, 
oblong 4to. 

C. 17S0. A Miscellaneous Quartette for two violins, a tenor and a 
bass .... selected from the English, Scotch, Irish, German, 
and Italian music. Composed, adapted, and arranged by 
the most eminent masters .... Same imprint, folio. Several 
numbers, ornamental title, signed Gillray, Sculp. 

The Hermit, a favourite English Ballad by Dr. Beattie, set 
to music... by Signor Giordani. .. .printed for William 
Napier, No. 474, Strand, folio. Afterwards sold to Joseph 
Dale, and reprinted by other music sellers. 

17S2. Summer Amusement, July 29th, 1782. Twelve Country 
Dances, and three Cotillions, entirely new.... by Wm. 
Burnett and James Rawlins. To be had of the authors, 
London, printed by William Napier, No. 474, the corner of 
Lancaster Court, in the Strand, oblong i6mo. 

Twelve Minuets. .. .humbly inscribed to Lady Yonge, by 
the author (no name given), printed for Wm. Napier, music 
seller to their Majesties, corner of Lancaster Court, Strand, 
oblong 4to. 

A Collection of Minuets, in which is that favourite one 
danced by Madame Heinel at the Opera house in the Hay- 
market. 

Operas : — The Flitch of Bacon, oblong folio (1778) ; The Deaf 
Lover (1780) ; Rosina (1783) ; The Maid of the Mill (1765 
and 1782) ; all these were sold to Dale with others for the 
sum of /540. (See Dale.) 

1790. A Selection of Original Scots Songs in three parts; the 
harmony by eminent masters ; dedicated to her Grace the 
Duchess of Gordon. Vol. 1, folio, London, printed for Wm. 
Napier, music seller to her Majesty, 49, Great Queen Street, 
Lincoln's Inn Fields. (It is divided into three numbers, 
with separate titles to each, and has a dissertation on 
Scottish Music by William Tytler, and a frontispiece). 



82 

1792. Ditto, vol. 2, the harmony by Haydn. Dedicated to the 
Duchess of York. (The third volume was entered in 
Stationer's Hall in 1794; the frontispieces to vols. 1 and 2 
are dated respectively 1790 and 1792. A later issue of the 
two volumes has the prefix " Favourite" instead of 
" Original " to Scots Songs. 

C. 1798-1800. Napier's Selection of Dances and Strathspeys, .printed 
for Wm. Napier, music seller and musician in ordinary to 
his Majesty, Lisle Street, Leicester Square, where may be 
had Napier's Three volumes of Scots Songs. Folio. 

Sheet music also bears this address. 

Newbery, J. At the Bible and Crown, without Temple 
Bar. This was the John Newbery who 
was afterwards in St. Paul's Church Yard, and was Oliver 
Goldsmith's publisher. His only claim to be included in the 
present volume is by reason of his re-publication of Kitchin's 
"English Orpheus" (see Kitchin), under the new title, 
" Universal Harmony." The plates bearing Kitchin's name 
are dated 1743, but Newbery's reprint was published in 1745. 
The later title of this book is " Universal Harmony, or the 
Gentleman and Lady's Social Companion, consisting of a 
great variety of the best and most favourite English and 
Scots Songs, Cantatas, &c, with a curious design by way 
of head piece expressive of the sense of each particular song, 

all neatly engraved on quarto copper plates London, 

printed for J. Newbery, at ye Bible and Crown, without 
Temple Bar, 1745, T. Kitchin, Sculp.," quarto, p.p. 126. 
The proposal for publishing this work by subscription is given 
in " A Bookseller of the Last Century," by Charles Welsh, 
taken from the General Evening Post, of January 17th, 1745. 
Newbery was afterwards famous for children's books, but I 
have seen no other musical publication bearing his imprint. 

Norman, Mrs. Musick seller in St. Paul's Church 
Yard, subscribes for 12 books of 
Cluer's " Pocket Companion for Gentlemen and Ladies," vol. 
1, circa 1724. It is possible that music or musical instruments 
may be found bearing her name, though up to the present I have 
seen none. It may be conjectured as to what relation she was 
to Barak Norman, the viol maker, who also lived in St. Paul's 
Church Yard, said to have been born in 1688, and to have died 
in 1740. She cannot be his widow if this last date is correct. 

Novello & Co. This firm, one of the greatest in the 

publishing world, owes its origin to 

Mr. Vincent Novello, a musician of Italian-English parentage, 

who in 181 1 commenced the publication of sacred collections 



83 

of music engraved and printed at his own expense, and issued 
from his residence. The first of these was " A Collection of 
Sacred Music," 2 volumes, folio, being music performed at the 
Chapel of the Portuguese Embassy, where he was organist. 
Other musical works of the Roman Catholic service followed, 
as " A Collection of Motetts for the Offertory," etc., in 12 
books, "Twelve Easy Masses," 3 volumes, 1816; a collection 
of Mozart's and Haydn's Masses, in 18 and in 16 books, 
followed by five folio volumes of early music taken from the 
manuscript collection in the Fitzwilliam Museum, Cambridge, 
and many others. It is quite evident that Vincent Novello's 
publications were issued not as a means of profit, but purely 
from the love of his art. 

In 1829, his son, Joseph Alfred Novello, embarked in 
business as a music publisher at 67, Frith Street, Soho, and 
his first important work was a continuation of Purcell's 
Sacred Music, begun by his father in December, 1828, and 
completed in 72 numbers in October, 1832. This was again 
re-issued in 1842-44. In 1834, J- Alfred Novello moved from 
Frith Street to 69, Dean Street, and in March 1836 
commenced the issue of a musical journal, " The Musical 
World," a very small octavo magazine, which was, in January 
1838, sold to another publisher and continued in a larger size. 
The " Musical Times " was commenced in 1844 and has, from 
its commencement, held the position of one of the most impor- 
tant musical papers in the country. With the Musical Times 
was projected the cheap octavo editions for which Messrs. 
Novello's are still so famous. There was in 1845 established 
a city branch of the Novello house at 24, Poultry, with the 
sign of the " Golden Crotchet," and cheap type printed 
editions of the " Messiah," and others of Handel's works 
appeared in due order. The Novello firm had much opposition 
to contend with in breaking into the set traditional usages of 
the trade, but the great energy of the head of the house and 
his able helpers soon made a path of which others did not 
fail to take advantage. In 1857 " Hymns, Ancient and 
Modern," was commenced, previous to which, in 1852, a new 
edition of Sir John Hawkins' "History of Music" had been 
begun. In 1861 the firm was first styled Novello & Co., and 
in 1866 Mr. Henry Littleton, who had been associated with 
the house since 1841, became sole proprietor; Mr. Novello 
having retired in 1856. In 1867 the firm of Ewer & Co. was 
incorporated with the house, which, in that year, removed its 
chief centre to I, Berners St., while still retaining its other 



84 
premises in Dean Street, Soho, besides having a New York 
branch. 

It is of course here impossible to deal at length with the 
house of Novello, Ewer & Co. and its publications — besides, this 
has been well and fully done in a work published by the firm. 
I therefore ask the reader to refer to the interesting volume 
itself, from which most of the brief particulars above have 
been taken ; the book — " A Short History of Cheap Music, 
as exemplified in the records of the house of Novello, Ewer & 
Co.," 1887 — is, I believe, still in print, as well as an equally 
interesting volume, " Life and Labours of Vincent Novello." 

Oswald, James. A Scottish musician who came to 
London in 1741. From an adver- 
tisement quoted by Dr. Laing in the new edition of Johnson's 
Museum, 1853, ■* appears that in 1734 he was a dancing 
master at Dumfermline, and that in 1736 and 1740 he 
was in Edinburgh, having then published one or two books of 
compositions and attained some degree of fame as a musician. 
The books advertised as published and to be published by him 
before he left Scotland are " A Collection of Minuets, adapted 

for the Violin, Bass Viol Composed by James Oswald, 

Dancing Master," advertised in the Caledonian Mercury, 
August 12th, 1734. Another notice in the same paper, 
January 6th, 1736, is to the effect that " Mr. Oswald is to pub- 
lish his book of Musick against Friday, the 16th of January, 
inst." On May 8th, 1740, he advertises " Whereas Mr. 
Oswald, Musician in Edinburgh, is, at the request of several 
ladies and gentlemen, publishing by subscription a collection 
of Scots Tunes, before he sets out for Italy, which will con- 
sist of above 50 tunes, never before printed, all within the 
compass of the Hautboy and German Piute, with a Thorough 
Bass for the Harpsichord and Spinnet," etc., etc. For full 
text of these interesting announcements see Dr. Laing's Intro- 
duction to Johnson's Museum. 

In the Scots Magazine for November, 1742 there is 
advertised "Two Collections of Favourite Scotch Tunes, set 
for a Violin, German Flute, or Harpsichord, by J. Oswald," 
these latter were certainly re-issued by John Simpson, of 
London. Oswald does not appear to have gone to Italy, but 
to London instead, and in the Scots Magazine for October, 
1 741, a lengthy "Epistle" in verse is printed on the occasion 
of his removal. This piece of poetry is particularly interesting, 
and contains some information regarding him and his com- 
position and arrangements. 



85 
After Oswald's arrival in London practically little is known 
of his movements during the first five or six years. He seems 
to have got into communication with John Simpson, of 
Sweeting's Alley, and may have done work for him in which 
his name does not appear. In a list of Simpson's publications 
circa 1745, at the end of an edition of the "Delightful Pocket 
Companion," there are mentioned "Two Collections of all the 
most favourite old and new Scotch Tunes, most of them with 

variations, entirely in the Scotch taste The first book new 

engraven the size of the second, with the addition of several 
new airs. Also a new set of tunes, composed in the Scotch 
taste for the tragedy of Macbeth, dedicated to his Royal 
Highness the Prince of Wales, by Mr. James Oswald, each 
book 4s. od." Another one advertised in the same list is 
" Twelve Songs set to musick in the Scotch taste, by Mr. 
James Oswald, is. od." The first named " Two Collections " 
was probably a work first published by Oswald in Edinburgh, 
and re-engraved in London by Simpson. It was possibly 
afterwards incorporated into " The Caledonian Pocket Com- 
panion," the work by which Oswald is best known. 

After Oswald had been some time in London, he set up 
a music shop in St. Martin's Lane, quite close to the church, 
and afterwards numbered 17. It is very difficult to fix the 
date for this but I think it cannot have been much before 
1747. It was about this time that a small number of 
musicians, amateur and professional — probably less than half- 
a-dozen — grouped themselves together, anonymously under 
the title " The Society of the Temple of Apollo." Charles 
Burney, then a young man, was one, James Oswald another, 
John Reid, afterwards General Reid, who, born about 1720, 
died in 1807, ^ e ^ the bulk of his property towards endowing 
a professorship of music at the University in Edinburgh, was 
another, and no doubt several others whose identity may be 
only guessed at. This society, which, in several cases, com- 
bined in the production of a work, published through Oswald, 
and in fact nearly all Oswald's issues are either compositions 
or arrangements of his own or those by members of the 
society. There is also reason to believe that Oswald, for 
some cause, set fictitious names to several of his own works. 
It has been assumed that compositions bearing the names 
Dottel Figlio*, and Giuseppe St. Martini, of London, are by 
Oswald himself, the latter being indicative of his address. It 
is quite possible that this may be the fact in both cases, but 
" Six Grand Concertos, in 7 parts, by Sigr. Giuseppe St 

* Dotte] Figlio's Sonatas, op. .4, are advertised on a work published 
by C & S. Thompson. 



86 

Martini, of London, are advertised by John Simpson, at a 
time when it does not appear that Oswald was in business, 
though there is, of course, a probability that he may have 
resided in the neighbourhood of St. Martin's Lane before 
opening a shop, and unless St. Martini of London can be 
otherwise accounted for, another strong proof of the assump- 
tion is that Oswald himself advertises musical works bearing 
the name and " Composed for the Temple of Apollo." In a 
new edition of the " Comic Tunes in Queen Mab" (which are, 
for the first time, ascribed to James Oswald), published by 
Randall, there is a note to the effect that " Sometime before 
Mr. Oswald's death he had fitted for the press a correct 
edition of his works ; as well as those that were known and 
acknowledged to be his, as those that were really such, but 
had formerly been published under the names of others, for 
reasons not difficult to guess. There are many excellent 
composers whose circumstances will not permit them to please 
themselves," etc., etc. 

Oswald dedicated an early work to Frederick, Prince of 
Wales, and among the coronation honours he was appointed 
in 1 76 1 Chamber Composer to George III. Though holding 
the above position, and being possessed of no mean talents, 
beyond his publications and his name appearing occasionally 
as composer to songs there is little record of him, and bio- 
graphies and musical works are silent. It seems likely that 
he died in 1769, for in the Gentleman's Magazine, under the 
date January 2nd, 1769, there is a death noted "James Oswald, 
of Knebworth, Herts." About this date Oswald's premises 
were taken over by Straight & Skillern, who re-issued some of 
his works — notably the "Caledonian Pocket Companion." 

James Oswald has been credited with the composition of 
"God Save the King," which, under the name of "Osweld's 
Are," is (or formerly was) played by the chimes of Windsor 
Parish Church. The bells were put up in 1769, and the 
chime barrel had been arranged by Oswald (see R. Clark's 
"Account of God Save the King," p. 28). The following are 
some of the principal London publications : — 

The Caledonian Pocket Companion, in six volumes, contain- 
ing all the favourite Scotch Tunes, with their variations for 
the German Flute. . . .By James Oswald. . . .London, printed 
for the author, and sold at his music shop in St. Martin's 
Yard, large 8vo. 
This extended to 12 books, the title pages being altered from "Six " 
to " Ten," etc. It was afterwards republished by Straight & Skillern, 
and one or more of the earlier books had been originally issued by 
J. Simpson. The Caledonian Pocket Companion was published at 



87 

intervals during several years. Book third, apparently only just then 
published, is advertised on the Masque of Alfred (performed 1751), and on 
Queen Mab (1752). It has been questioned whether the last two books 
were published before Oswald's death. 

C. 1747. Airs for the Spring, Summer, Autumn, and Winter, by 
James Oswald, and sold at his music shop in St. Martin's 
Church Yard, 4 parts, folio. 
The grant of copyright engraved in the volume is dated 23rd October, 
J 747- 

Six Pastoral Solos, for a Violin, and Violoncello. .By James 
Oswald, same imprint, oblong folio. 

A Collection of Scots Tunes, with Variations. .. .Dedicated 
to the Earl of Bute, by James Oswald, London, printed for 
the author at his music shop on the pavement of St. Martin's 
Church Yard, of whom may be had the Caledonian Pocket 
Companion, in seven volumes, folio. 
Re-published by Bland & Weller, and by J. Bland. 

C. 1762-5. A Collection of the best Old Scotch and English Songs, 
set for the voice, with accompaniments. .. .for the harpsi- 
chord. Dedicated to the Princess Dowager of Wales, by 
James Oswald, same imprint, folio. 

Ten Favourite Songs, sung by Miss Fortmantel at Ranelagh 
... .By J. Oswald, folio (copyright grant dated 1747). 

A Second Collection of Curious Scots Tunes, for a Violin 
and German Flute.... By James Oswald, London, Chas. 
& S. Thompson, folio (a late issue from old plates). 

Six Solos for a German Flute or Violin.. By I. R., Esq., a 
member of the Temple of Apollo, oblong folio. (Oswald's 
imprint, but also republished by Randall.) 

C. 1751. The Music in the Masque of Alfred, written by Mr. Mallet. . 
Composed by the Society of the Temple of Apollo, folio 
(performed 1751). This is not the famous one with the song 
Rule Britannia. 

C. 1752. The Comic Tunes in Queen Mab, as they are performed at 
the Theatre Royal in Drury Lane. . . .By the Society of the 
Temple of Apollo, oblong 4to. 

(A pantomime acted in 1752, the music of which has been 
claimed for Burney, but in a later copy from the same plates 
published by Randall, and by Straight & Skillern, James 
Oswald's name is set down as composer.) 

(1751-2). The Music in Harlequin Ranger, oblong 4to. 

(1752). The Comic Tunes in the Genii. 

(1753). Ditto in Fortunatus, oblong 4to. 

Forty Airs for the Violin, German Flute, or Guittar. . . .per- 
formed in the Hessian and Prussian Armies, large 8vo. 

If space permitted this list of Oswald's publications could be greatly 
extended ; the imprints generally refer to his music shop on the pavement 
of St. Martin's Church Yard. 



Owen Wm. Published music and had a shop 
near Temple Bar, between the two 
Temple Gates in 175S and 1771. This shop was probably 
the original premises occupied by John Cullen, sixty or seventy 
years previously. He published " Divine Melody, in Twenty- 
four Choice Hymns... two parts, by Mr. Prelleur...the rest 
chiefly by Mr. Moze... London, printed for Wm. Owen, at 
Homer's Head, near Temple Bar, 1758," type printed 8vo. 
" Pieces for the Harp... by Dr. Worgan, printed for the author 
and sold by W. Owen, between the Temple Gates, and at 
Smart's Music Shop, corner of Argyll Buildings, Oxford 
Street, and at the author's house, Rathbone Place," folio. 
" Libro de XII Sonatas. ..D. Scarlatti (edited by Dr. Worgan), 
London, printed and sold by Wm. Owen, bookseller and 
music printer, between the Temple Gates. "...Copyright grant 
dated 1771. 

Paine & Hopkins. 69. Cornhill, published popular 

sheet songs in 1822 and 1824, 
etc. It is possible that the firm was James Paine, a leader 
of the dancing at Almack's and composer of a great number of 
quadrilles, with a performer on the clarionet named Hopkins, 
who played at Covent Garden Theatre. 

Pearce & Co. The firm was originally Corri & Pearce. 
at 28, Haymarket (see Corri). About 
1807-8 the style of the house became as above and they pub- 
lished Hook's Opera, "Tekeli" (acted in 1806), besides songs 
from " The English Fleet," etc. On No. 3 of a series of 
Country Dances in folio, circa 1806-8, they advertise having 
bought the whole ot Mr. Bennison's plates and stock-in-trade. 
They removed to 70, Dean Street, and later are found at 24, 
Panton Street, Haymarket, premises which in 1820 are 
occupied by a music seller, named William Kelly, while 
Pearce & Co. are probably non-existent. Preston got the plates. 

Pearson, William. Was the principal type music 

printer during the first thirty- 
five years of the eighteenth century. He probably made im- 
provements of his own in the "new tied note," first introduced 
by J. Heptingstall, and held an undisputed field until his death 
or retirement. The earliest date I have found for his printing 
is 1699, and the latest 1735. In 1738 a musical work was 
printed by A. Pearson, who was probably his son. Pearson's 
printing office was, in 1699, next door to the Hare & Feathers, 
in Aldersgate Street. In 1700 and onward the address is given 



89 
as in Red Cross Alley, Jewin Street, though in 1724, one 
imprint has " Over against Wright's Coffee House in Alders- 
gate Street." 

Pearson apparently had few rivals in type music printing, 
and printed for the authors and for different publishers. 

Some of William Pearson's printed works are : — 

1699 Twelve New Songs, with a thorough bass to each song, 
figured for the Organ, Harpsichord, or Theorbo, chiefly to 
encourage William Pearson's new London character, com- 
posed by Dr. Blow, Dr. Turner. . . . 1699, folio. 

1699 A New Scotch Song, set by Mr. Daniel Purcell, and sung in 
the last revived play called The Taming of the Shrew (begins 
" 'Twas in the month of May ").... London, printed by and 
for William Pearson, next door to the Hare and Feathers, 
in Aldersgate Street, and sold at most musick shops in 
town, 1699, half sheet song (British Museum). 

1700 A Collection of Original Scotch Tunes. . . . Printed for Henry 
Playford ; two editions in oblong 4to, 1700 and 1701. 

1700 Dr. Blow's Amphion Angelicus. 1700, folio. 

1701 A Collection of New Songs.. by Vaughan Richardson, 
London, printed by William Pearson, for the author, and 
sold by Mr. Playford. .Mr. Hare, at the Golden Viol, in St. 
Paul's Church Yard, and at his shop in Freeman's Yard, 
1 70 1, folio (Taphouse). 

1 701 Motley's Ayres in three parts, 1701, oblong 4to. 

Henry Playford's Pleasant Musical Companion, and a second 
book of ditto, several editions, 1701-1720. 

The later editions of the Dancing Master, first, second, and 
third volumes, and of D'Urfey's Wit and Mirth. 

Several editions of Playford's Introduction to the Skill of 
Music, from 1700 to 1730. 

1703 A Choice Collection of Italian Ayres.... By John Abell, 
1703 ( Taphouse). 

Harmonia Sacra, Henry Playford, 1703 and 1714, folio. 

C 1705 The Complete Dancing Master's Companion, containing the 
Marlborough, Mr. Isaack's new dance. .. .danced at Court 
on her Majesty's birthday, 1705 ; the third book, London, 
printed by William Pearson, and sold by John Cullen, and 
Humfrey Saulter, at the Lute, in St. Paul's Church Yard, 
oblong 8vo (Taphouse)-. 

1714 Simpson's Compendium of Practical Music, several editions, 
1714-1732, etc. 

1719 Playford's Whole Book of Psalms, 1719, etc. 

1724 Sound Anatomised. .By Wm. Turner, London, printed by 
William Pearson, over against Wright's Coffee House, in 
Aldersgate Street, for the author, 1724. 



90 

1727 The Psalm Singer's Choice Companion Robert Barber, 

London, printed by W.P., 1727, 8vo. 

1731 Holder's Treatise on Harmony, 1731, 8vo. 

1731 Another Treatise on Harmony, 1 731, oblong 410, published 
anonymously, supposed to be by Dr. Pepusch. 

1731 Psalmody Epitomized By Ely Stansfield, 1731, Svo. 

1735 Tansur's Compleat Melody, or the Harmony of Sion, 1735, 
oblong 4to. 

1 have seen no publication printed by William Pearson 
later than the last in the above list ; his printing house was 
probably continued by his son, for Tansur's " Heaven upon 
Earth, or the beauty of Holiness," is printed by " A. Pearson 
for S. Birt, at the Bible and Ball, 1738," 8vo. 

Peck, James. 47? Lombard Street, principally pub- 
lished engraved sacred music. He 
was at this address in 1807 an d remained here in 1824. He 
published a copy of the " Messiah" in oblong 4to, dated 181 3 ; 
two "Sets of Sacred Music, by Jno. Fawcett," oblong 4to, 
with many others in similar form and character. 

Phillips, John & Sarah. These two, husband and 

wife, engraved musical 
works at the middle of the eighteenth century. The follow- 
ing is Sir John Hawkins' account of them, "But the last and 
greatest improver of the art of stamping music in England was 
one Phillips, a welchman, who might be said to have stolen it 
from one Fortier, a Frenchman, and a watchmaker, who 
stamped some of the parts of Martini's first opera of Concertos 
and a few other songs. This man Phillips, by repeated 
assays, arrived at the method of making types of all the 
characters used in music ; with these he stamped music on 
pewter plates, and taught the whole art to his wife and son. 
In other respects he improved the practice of stamping to so 
great a degree that music is scarce anywhere so well printed 
as in England." Hawkins is perfectly right regarding the 
excellent results attained by Phillips. He at one time had a 
music shop in St. Martin's Court, St. Martin's Lane, and, like 
Thomas Cross, sold the music he engraved. 

The earliest work that I can identify of his is " The Art 
of Playing the Violin," by F. Geminiani, dated 1751. For 
Dr. Arne he engraved the opera " Thomas and Sally," folio, 
sold by the author, and dated 1761 — "J. Phillips, Sculpt." — 
and about the same date (published by Johnson, of Cheapside) 
"Twelve Songs, set to music by William Jackson, of Exeter," 
folio. Another work is Dunn's " Six English Songs and a 



91 

Cantata printed for the author at the Turk's Head 

facing Staples Inn, and at Mr. Phillips' Music Shop, in 
St. Martin's Court, St. Martin's Lane," and a sheet song 
by Dr. Arne is "printed and sold by J. Phillips, in St. 
Martin's Court." John Phillips' name is on Warren's first 
" Collection of Catches and Glees, - ' dated 1763, oblong folio; 
on page 31 of this is S. Phillips, Sculp. J. Phillips engraved 
for Oswald "A Collection of the best old Scotch and English 
Songs," and a half sheet song "printed by J. Oswald" has 
"Sarah Phillips, Sculp." 

I have not been able to ascertain when the Phillips 
family ceased working. 

Phillips & Mayhew. *7> 9 ld Bond Street, were 

music sellers to the Duke 
and Duchess of Kent, 1818-1820 ; published sheet songs, and 
were in business here till 1822, when the firm became May- 
hew & Co.* (See Mayhew.) 

PhipDS & Co. The head of this firm was possibly the 
Phipps who was partner in the house 
of Goulding, Phipps & D'Almaine, and who retired from it 
about 1808-9. Phipps & Co. were music sellers at 25, Duke 
Street, Grosvenor Square, in 1811 till 1819, when, becoming 
Phipps & Holloway, they remove to 95, New Bond Street. 
In 1821 they are at 5, Hanway Street, and in 1822 the name 
is T. Holloway. (See Holloway.) Besides sheet music 
Phipps & Holloway issued a series of small volumes entitled 
" Philomel," consisting of airs for the patent double 
Flageolet, arranged by John Parry. This is in oblong i6mo 
and the first eight numbers have the imprint " Phipps & Co., 
25, Duke Street," while the latter ones up to 16 are published 
by "Bland & Weller." No. 17 is issued by C. Wheatstone ; 
it is evidently a work owned by the editor. 

Pippard, L. A music publisher at the sign of the 
"Orpheus" in Russell Street, Covent 
Garden, during the early years of the eighteenth century. In 
the British Museum there is a quaint and rudely engraved 
book of Country Dances, dated 171 1, having his imprint ; it 
bears this title: "A Hundred and Twenty Country Dances for 
the Flute ; being a choice collection of the pleasant and most 
airy tunes out of all the dance books, both old and new... The 
whole fairly engraven 171 1, London, printed for and engraved 
by L. Pippard, at ye sign of Orpheus, opposite to Tim's 
coffee house, in Russell Street, Covent Garden, where are new 

* In 1802 a Wm Phillips was a musical instrument maker on Tower 
Hill, and the directories for 1811-12 mention him as a pianoforte maker 
there. 



92 
books of tunes with instructions for learning on all instruments, 
with new Sonatas and Solos, and new Songs of all sorts," 
oblong 4to, p.p. 30, 118 dances. I find a work bearing the 
same title with the imprint "London, for Danl. Wright," in a 
modern bookseller's catalogue, priced, for some fortunate 
collector, at half-a-crown. It is possible D. Wright may have 
re-issued the work, or copied it, or that his engraved slip 
pasted over the original imprint has been transcribed by the 
bookseller. 

Another work published by L. Pippard, also in 171 1, is 
"The Violin Master Improved, the third book," same imprint, 
dated 1711, oblong, it was "sold by Mrs. Miller on London 
Bridge, and I. Young, in St. Paul's Church Yard." (See Sir 
J. Stainers Catalogue of Song Booh.) 

PlattS, T. He was probably a son or otherwise 

related to Martin Platts, a dancing master. 

J. Platts opened a music shop and published music at 83, 

Berwick Street, Soho, about 1805. This includes "Platts' 

Collection of original and popular Dances, arranged for the 

pianoforte, violin, &c Printed and sold by J. Platts, at his 

magazine for harp music, No. 83, Berwick Street, Oxford 
Street," folio ; reaching to at least 34 numbers. Other music 
is advertised on these numbers. In 1822 and 1824 
J. Platts was publishing French songs and harp music from 
g, John's Street, Oxford Street (advertisement), and he was still 
in business in 1838. 

Playford, John. O ne of the most important figures 
in English musical history during 
the latter half of the seventeenth century. He is said to have 
been born in 1623, and to have died in 1693 or I &94- The 
first notice that seems to occur of him is in 1648, when his 
name is mentioned as entering books in the register of the 
Stationers' Company ; these, however, were not musical works, 
(see Chappell's " Popular Music," p. 423.) He was then a 
bookseller, having a shop in the Inner Temple and near the 
church door, but never appears, as has been loosely stated by 
Hawkins and others, to have been a printer, though his son, of 
the same Christian name assuredly was. Playford's first 
musical publication probably was " The English Dancing 
Master, or Plaine and Easie rules for the dancing of Country 
Dances, with the tunes to each," and this is absolutely not only 
the first English work on the subject, but the first general collec- 
tion of the popular dance and ballad tunes of England. It is 
dated 1651, but the work Avas entered in Stationers' Hall on 



93 

November 7th, 1650. In 1652 its title was changed to " The 
Dancing Master," and its eighteen editions, with second, and 
with a third volume, ranged downward to the year 1728, 
forming an invaluable record of English popular melody. 
From the first publication of the "Dancing Master," Play- 
ford (with one or two exceptions) issued none but musical 
works and his intimacy with the principal musicians of his 
period seems to have been complete, and of a most kindly 
character ; indeed he must have been held in the greatest 
esteem. Whether from this intimacy or from the fairness ot 
his dealing he held the monopoly of the music publishing 
trade (which was then freed from the vexatious patent rights), 
except for a few psalters and musical treatises. 

John Playford was musician enough to write an excellent 
little work on music, which held the field for nearly eighty 
years — 1654 to 1730; he also edited a Psalmody collection, 
and was the composer of many of the tunes therein. In 
addition to his music business he was parish clerk to the 
Temple Church, while his wife kept a boarding school at Isling- 
ton "Over against the Church where young gentlewomen might 
be instructed in all manner of curious work, as also reading, 
writing, musick, dancing, and the French tongue." This is 
advertised at the end of " Select Ayres and Dialogues, 1659," 
and twenty years after, the lease of the premises is advertised 
for sale in newspapers of 1680 and 1681, to this effect : — " In 
the High Street, over against the Church in Islington is to be 
let a fair house, containing above 20 rooms, one whereof is 45 
feet long, with outhouse for a wash house, coach house, with 
a convenient court yard before the said house, and behind it a 
fair garden, opening into the best fields for air about the town; 
also two pleasant summer houses in the said garden. The 
person who will let the house has 16 years to come in his 
lease, which he is willing to dispose of for a moderate fine, 
without any rent or otherwise by the year, for an easy rent 
(under ,£20 per annum), without any fine. Notwithstanding 
he has laid out in improving the premises above ^400. 
Enquire at Mr. Playford's shop near the Temple Church, or 
at Mr. John Hall's, a goldsmith, and near the Nag's Head 
Tavern, in Leadenhall Street, or at the said Mr. Hall's country 
house over against Islington Church aforesaid." — Smith's 
Protestant Intelligencer, April 7th, 1681. 

While keeping his shop near the Temple, Playford must 
have lived with his wife in the house above advertised, and 
here he had two sons born, John and Henry. The dates of their 



94 
birth are given in Grove's Dictionary as Henry, 1657, John, 
1665. As in 1679 J. Playford, junior, is advertised to have 
commenced in partnership with another as a master printer 
(which he could not have done had he been only fourteen years 
of age), the date is more likely to have been 1655, and his 
Christian name John points to him being most likely the elder 
son. Henry's birth is fixed at 1657, and he continued the 
business founded by his father, whilst John, having been 
apprenticed to a printer and become a master, died in 1686. 
Henry is supposed to have died about 1706 or later. 

John Playford, the father, was, for a short time only, in 
partnership with Zach Watkins at the shop in the Temple. 
This was in 1664-5, but soon after this he was alone and 
retained the shop in the Temple till his death. There are 
many quaint notices and advertisements scattered through 
Playford's publications ; one runs thus : — on Select Ayres and 
Dialogues, 1669, "At Mr. Playford's shop is sold all sorts of 
ruled paper for musick and books of all sizes ready bound for 
musick. Also the excellent cordial called the Elixir Pro- 
prietatis, a few drops of which drank in a glass of sack or 
other liquors is admirable for all coughs, consumption of the 
lungs, and inward distempers of the body ; a book of the 
manner of taking it is given also to those who buy the same. 
Also if a person desires to be furnished with good new 
Virginals, and Harpsicons, if they send to Mr. Playford's shop 
they may be furnished at reasonable rates to their content." 

Samuel Pepys, as might have been expected, was on 
intimate terms with Playford, and in the valuable new edition 
of Pepys' Diary, edited by Mr. William B. Wheatley — valu- 
able for containing so much interesting matter relating to 
Pepys' musical life, omitted in the old edition — there are 
several entries relating to him. For instance, on November 
22nd, 1662, — " bought the book of Country Dances against 
my wife's woman Gosnell comes, who dances finely, and there 
meeting Mr. Playford he did give me his Latin songs of Mr. 
Dering's, which he had lately printed." On May 23rd, 1663 
he took his " Lyra Viall book bound up with blank paper for 
new lessons." On November 23rd, 1666, " at The Temple I 
called at Playford's and there find that his new impression of 
his ketches (catch book) are not yet out, the fire having" 
hindered it, but his man tells me that it will be a very fine 
piece, and many things new being added it." This is an 
allusion to a late edition of Hilton's " Catch that Catch can," 
which, published in 1667, became the first edition of " The 






95 

Musical Companion." An entry dated April 15th, 1667, shows 
that Pepys had bought the book and " found a great many new 
fooleries in it," three days after he " tried two or three grace 
parts in Play ford's new book, my wife pleasing me in singing 
her part of the things she knew, which is a comfort to my 
very heart." 

In 1684 Playford bids farewell to the public in the follow- 
ing notice in the fifth book of " Choice Ayres and Songs," 
" To all lovers and understanders of musick ; gentlemen, this 
fifth book of new songs and ayres had come sooner (by three 
months) to your hands, but the late frost put an embargo 
upon the Press for more than ten weeks, and to say the truth 
there was a great unwillingness in me to undertake the pain of 
publishing any more of this nature. But at the request of 
friends, and especially Mr. Carr, who assisted me in procuring 
some of these songs from the authors, I was prevailed with... 
My pains and care has ever been not only to procure perfect 
copies, but also to see them true and well printed. But now 
I find my age and the infirmities of Nature will not allow me 
the strength to undergo my former labours again. I shall leave 
it to two young men, my own son and Mr. Carr's son, w r ho is 
one of his Majesty's Musick and an ingenious person whom 
you may rely upon, that what they publish of this nature, 
shall be carefully corrected and well done, myself engaging to 
be assisting to them in the overseeing the press for the future, 
that what songs they make public be good and true musick, 
both for the credit of the authors and to the content and satis- 
faction of the buyers, which that they may never be otherwise 
is the desire, of, gentlemen, your most faithful servant, John 
Playford." Accordingly after 1685, Henry Playford's name 
stands in place of his father's on all or most of the Playford 
publications. Whatever political opinions John Playford held 
or displayed during the commonwealth, he was like Lawes 
and other of his contempory musicians a strong royalist after 
the Restoration ; there is sufficient evidence in his publications 
for this assumption. 

As before stated, the elder Playford's name is never 
appended to his publications as printer. His earliest books 
were printed by Thomas Harper, who had printed music in a 
Psalm book as early as 1633, though not at that time for 
Playford. Harper was printing for him in 1653, but in 1658 
William Godbid was so employed, and it is probable that the 
younger John Playford was apprenticed with him. Godbid 
seems to be the sole printer for Playford up to 1679, when, as 



96 

A. Godbid and the younger Playford took over the Godbid 
printing house in Little Britain, perhaps owing to the death of 
William, the business naturally fell upon the firm. After the 
death of the younger Playford in 1686, Edward Jones in the 
Savoy did the work, followed by J. Heptingstall, and lastly 
by William Pearson. 

The great bulk of John Playford's work is printed from 
moveable type, the exception being, in his earlier years, one or 
two reprinted from copper plates engraven prior to his time, 
as Dr. Child's '• Psalms for three voices," printed originally in 
1630, and probably Orlando Gibbon's three part "Fantasies." 
which Playford advertises in 1653 as engraven upon copper. 

The other exception to Playford's type printed music are 
his delicately engraven volumes in small oblong as " Musick's 
Handmaid," 1678, "The Division Violin," 1685, etc. His 
books have frequently frontispieces, etched and engraved, and 
in the best style of art ; among them those for his smaller 
volumes of instructions for different instruments are particu- 
larly quaint and charming. Wm. Hollar etched a vignette 
for the title page of the Dancing Master. John Playford died 
in 1693-4, leaving his son Henry to continue the business which 
he had already taken over. There are five engraved portraits 
of the elder Playford, taken at different periods of his life ; 
these are prefixed to certain editions of his " Introduction to 
the Skill of Music," an excellent work of which he was the 
author. The editions of Playford's publications are so 
numerous, and many so seldom seen (not to mention others 
which have totally disappeared), that the compilation of a fairly 
full bibliography is by no means an easy task. The following, 
arranged from actual copies and from Playford's own advertise- 
ments, makes no pretence of completeness. 

1650. The English Dancing Master, or Plaine and Easie rules for 
the dancing of Country Dances, with the tunes to each 
dance, printed by Thomas Harper, and are to be sold by 
John Playford at his shop in the Inner Temple, neere the 
Church doore, 1651, (entered at Stationers' Hall November 
7th, 1650. 104 dances), oblong 4to 

1652 The Dancing Master, or plaine and easie rules, etc. The 
Second edition enlarged and corrected from many grosse 
errors. .. .printed for John Playford at his shop in the 
Inner Temple, 1652 (112 dances), small oblong. 

1657. Ditto, containing 132 new and choice country dances In 

which is added 42 French corants and other tunes to be plaid 
on the treble violin, printed in 1657, (advertised in 1669 : a 
copy at Cambridge). 



97 

1665. Ditto, printed by W.G., and are to be sold by J. Playford 
& Z. Watkins, at their shop in the Temple, 1665, (132 dances 
and 85 French and other tunes). 

1670 Ditto, 4th edition, 155 tunes, 1670 ; 5th edition, 160 tunes, 
to 1675; 6th, printed by A.G..&J.P. 1679, 182 tunes; 7th, 1686; 

1698 8th, printed by E. Jones, 220 tunes, 1690; 9th, 1695; the 
Second Part of the Dancing Master, p.p. 24, 1696, an 
additional sheet of new dances for the second part, p.p. 25 to 
32 ; the Second Part of the Dancing Master, 2nd edition, 
with additions, 1698 (this has several additional sheets). 

1698 The Dancing Master, 10th edition, p.p. 215, 1698; nth 

to edition, p.p. 312, 1701 ; 12th, p.p. 354, 1703; 13th, containing 

circa 360 dances (advertised in 1707) ; 14th, 171 1 ; 15th, 1713 ; i6th, 

1725 printed by W. Pearson, and sold by John Young, 1716; 17th, 

identical with the above, 1721 ; 18th, volume the first not 

daied, circa 1725, p.p. 358, identical with the 16th edition. 

This is the last edition of the first volume. 

The Dancing Master — second volume, was probably first published 
about 1713 to form an additional volume to the fifteenth edition. The 
second edition of the second volume was published in 1718; third edition 
1719, and fourth edition, which like the third contained 360 dances, and 
is identical with it, is dated 1728. A third volume not dated has the title 
*' The Dancing Master, or directions for dancing Country Dances, with 
the tunes to each dance for the treble violin ; the Third Volume, con- 
taining two hundred dances, London, printed by William Pearson, and 
sold by John Young," p.p. 200, small oblong, circa 1728. 

C 1650. The First set of Psalms for 3 voyces....by William Child, 
engraven on copper, advertised by Playford in 1653, and 
again by him in 1669, as having been printed in 1656. 4 
books in all were published. Chappell says the work was 
reprinted in 1650 from the original plates of 1630. 

165 1 . Musick and Mirth, presented in a choice collection of Rounds 
and Catches, for 3 voices, (given by Chappell as being unique, 
in the Douce Collection, in the Bodleian library.) 

C 1650-1 Orlando Gibbons' three part Fantazies, for 2 trebles and a 
basse, engraven upon copper ; advertised in 1653, and is 
probably from earlier plates. 

Orlando Gibbons' 5 parts for Viols and Voices, and Orlando 
Gibbons' Madrigals ; both advertised in 1669. 

Mr. Wilby's Madrigals of 3, 4, 5, and 6 voyces ; advertised 
in 1669. 

Dr. Champion's Ayres for 1, 2, and 3 voyces, [Campion] ; 
advertised in 1669. 

C 1650-1 Mr. Michael East's Seven sets of Fantazes, for the Viols of 
2, 3, and 4 parts (reprinted from the early edition of 1638) ; 
advertised in 1653. 

1651 A Musical Banquet, in three books, consisting of Lessons for 
the Lyra Viol ; Allmans, and Sarabands, Choice Catches 
and Rounds, etc. Douce collection, Chappell, p. 423. 



98 
1652 A Banquet of Musick, set forth in three several varieties of 
musick; first, Lessons for the Lyra Viol, the second, Ayresand 
Jiggs for the Violin, the third, Rounds and Catches, all of 
which are fitted to the capacity of young practitioners 
(advertised in 1655. Chappell mentions, p. 483, a unique 
copy in the Douce Collection. Henry Play ford published 
in 1688 another work under same title). 

C 1652 A Book of new lessons for the Cithren and Gittern, advertised 
in 1653. In another place Playford gives an announce- 
ment of it as having been printed in 1659. Query : — 
Whether it is an early edition of Musick's Delight on the 
Cithren, 1666, and whether both are the same as Musick's 
Solace on the Cithren and Gittern, advertised in 1664, 1665, 
1669, and in 1672 as being newly reprinted. 

1652 Select Musicall Ayres and Dialogues for 1 and 2 voyces to 
sing to the Theorbo Lute, or Basse Violl. .by John Wilson, 
Charles Coleman, Henry Lawes, Wm. Webb, and the Second 
Book of Ayres, for 2 voyces, to sing either to the Theorbo 
Harpsicon or Basse Violl, folio, 1652. 

Ditto, :'n three books, 1653 ; another edition 1659. After- 
wards the last edition, by mere alteration of title page, 
became the first book of the Treasury of Music, 1669. 

1652 Musick's Recreation on the Lyra Viol, 1652; another edition 
1656 and constantly advertised till 1690 ; there must have 
been many editions. In 1672 Music's Recreation on the Viol, 
Lyra ways, is advertised as newly reprinted with large 
additions. 

1652 Catch that Catch Can, or a choice collection of Catches and 
Rounds.. ..John Hilton, printed for John Benson and John 
Playford, and are to be sould in St. Dunstan's Church Yard, 
and in the Inner Temple, 1652, small oblong. 
(Advertised in 1669 as a book of Catches, collected and pub- 
lished by J. Hilton in 1651, and now with large additions by 
J. P. newly re-printed 1658.) Another edition in 1663, and an 
edition, with the subtitle The Musical Companion, .to 
which is added a 2nd book, was published in 1667 in oblong 
4to. Another edition was Catch that Catch Can, or the 2nd 
part of the Musical Companion, 1685, oblong 4to. 

1653 Ayres and Dialogues for one, two, and three voyces by 
Henry Lawes. . . .the first booke, London, printed by T. H. 
for John Playford, 1653, folio, portrait on title ; 2nd book 
l6 55 ! 3 r d book 1658, the third book is advertised in 1669 as 
having been printed in 1658. Another edition of the whole 
work bears the date 1669. 

1655 An Introduction to the Skill of Music, in two books ; first a 
brief and plain introduction to musick, both for singing and 
for playing on the Violl, by J. P. ; second, the Art of setting 
or composing musick in parts. . . .formerly published by Dr. 
Tho. Campion, but now republished by Mr. Christopher 
Sympson .. Small 8vo, 1655. 



99 

A unique copy is said to be dated 1654, The second edition is dated 
1658, and this and all later ones have the title "A Brief Introduction to 
the Skill of Music." The third edition is dated 1660 ; another, unnumbered, 
1662 ; 4th, 1664 ; others, 1666, 1667, and 1670 ; 6th, 1672 ; 7th, 1674 ; 8th, 
1679; (no trace of a gth edition); 10th, 1683; nth, 1687; 12th, 1694; 
13th, 1697; I 4 t h, 1700; 15th, 1703; 16th, 1713 ; 17th, 1718 ; 18th, 1724; 
19th, 1730. This last is the end of the series. Dr. Campion's Art of 
Descant, given as a second part to the work, was also published separately ; 
it has a title page of its own and is sometimes dated a year earlier than 
the edition of the Introduction in which it is included. 

1655 Court Ayres, or Pavins, Almaines, Corants, and Sarabands, 
treble and basse, for viols or violins. Chappell, p. 425, gives 
this date ; Playford advertises it as having been printed in 
1656; it was afterwards reprinted in 1662 as Courtly 
Masquing Ayres, in two parts, and is so advertised in 1664 
and 1665, while as Court Ayres it is announced as late as 
1672. 

1655 The Art of Setting or Composing of Musick, in parts; Dr. 
Campion's 2nd edition, with large annotations thereon, by Mr. 
Christopher Sympson, 1655, small 8vo. This was afterwards 
entitled The Art of Descant, and included in every edition 
of Playford's Introduction to the Skill of Musick. 

1659 The Division Violist, or an introduction to playing upon a 
ground, by Christopher Simpson, 1659, folio ; a second 
edition is dated 1667, and a third, 1712. 

1661 The Pleasant Companion, or New Lessons for the Flagelet, 
to by Thomas Greeting, small oblong. The following dates 

1688 have been given for various editions, 1661-66-72-75-80-82-83 
and 1688 ; it was frequently advertised by Playford. 

1656 Mr. Matthew Locke, his Little Consort, of three parts, 
containing Pavans, Ayres, Corants, and Sarabands, for Viols 
and Violins, .oblong 4to, 1656 (advertised by Playford as 
having been printed in 1657, re-advertised in 1670 and 1672). 
Another edition dated 1686. 

1657 Ayres and Dialogues to be sung to the Theorbo-lute or 
Basse Viol, by John Gamble, folio, 1657 ; second book, 1659. 

1657 Mottets of Two Voyces, for treble or tenor.... to be per- 
formed to an Organ, Harpsycon, Lute, or Bass Viol, 1657, 
folio ; a second set was published before 1669. 

Mr. Henry and Mr. William Lawes, Psalms for 3 voyces, in 
4 books, 4to, advertised in 1669, etc. (a re-print, no doubt, 
of the edition of 1648). 

A Book of Divine Hymns and Dialogues, for one and two 
voyces, to sing to the Theorbo-lute or Organ, by Mr. Henry 
Lawes and others. 

Apollo's Banquet, containing instructions and a variety of 
new tunes for the treble violin ; small oblong. This originally 
formed the appendix to the Dancing Master of 1665. In 1669 
it was advertised as a book for the treble violin, now fitted 
for the press. Under its proper title it was advertised in 
1672, etc. The 6th edition is dated 1690 ; the 7th is adver- 
tised in 1700, and the gth in 1720. 



100 

i666 Musick's Delight on the Cithren, restored to a more easie 
and pleasant manner of playing than formerly . . 1666, small 
oblong. (At both later and earlier dates a book is advertised 
under the title, Musick's Solace on the Cithren and Gittern, 
this may be the same, or a different work. A New Book of 
Lessons, with instructions for the Cithren and Gittern, is 
advertised as early as 1653). 

Mr. Will Young, his Fantazies for the Viols, advertised in 

1669. 

Dr. J. Wilson's Ayres and Ballads for 3 voyces, lately 

printed at Oxford, advertised in 1669 and 1670. 

1667 Catch that Catch Can, or the Musical Companion, contain- 
ing catches and rounds for 3 and 4 voyces, to which is added 
a second book containing dialogues, glees, ayres, and ballads, 
1667, oblong 4to. .1911'/ ? r ' r " 

This may be considered an extended edition of Hilton's Catch that 
Catch Can, 1652 ; it became the first edition of The Musical Companion. 
Pepys mentions that its publication was delayed by the great fire and 
that he bought it on April 15th, 1667, and found a great many new 
fooleries in it. 

1672-73 The Musical Companion in two books, the first book contain- 
ing Catches and Rounds for 3 voyces, the second book con- 
taining Dialogues, Glees, Ayres, and Songs, oblong 4to, the 
first title page dated 1673, the second 1672 (a second edition 
of the above). 

1685 Catch that Catch Can, or the Second part of the Musical 
Companion, 1685, oblong 4to, 

1686 The Second book of the Pleasant Musical Companion, oblong 
4to, 1686. A copy in the British Museum with an autograph 
of Playford, dated October, 1685. 

Ditto, 4th edition, dated 1701 ; a supplement dated 1702. 

The Pleasant Musical Companion, oblong 4to, 6th edition 
dated 1720; 9th edition dated 1726; 10th edition, 1730. 

1669 The Treasury of Musick, containing Ayres and Dialogues to 
sing to the Theorbo-lute and Basse Viol, composed by Mr. 
Henry Lawes, late servant to his Majesty in his public and 
private musick ; in three books, London, printed by Wm. 
Godbid for John Playford, and are to be sold at his shop in 
the Temple, near the church dore, 1669, folio. 

The second and third books are titled Select Ayres and Dialogues, 
and all are dated 1669. The whole of the work is practically a re-issue of 
Playford's earlier publications. Frontispiece of a lady playing lute. 

1671 Psalms and Hymns in Solemn Musick of four parts, 1671, 
folio. Ditto, 1673. 

The Whole book of Psalms, with the usual Hymns and 
Spiritual Songs, by John Playford, octavo. 

This ran through at least twenty editions. It is advertised in 1679 
and in 1685 ; the 3rd edition is dated 1697; tne 6th is advertised in 1700; 
the 7th in 1703; the 15th is dated 1719; and the 20th was published in 
1757- 



101 

1673 Choice Songs and Ayres, for one voice to sing to a Theorbo- 
lute or Bass Viol, composed by several gentlemen of his 
Majesty's Music, 1st book printed by W. G. for John Playford 
and John Ford, 1673, folio. 

1674 Cantica Sacra, containing Hymns and Anthems, for the 
voices to the organ, both Latine and English, composed by 
Mr. Richard Dering, etc., first and second setts, folio, 1674. 

Pepys, under the date November 22nd, 1662, mentions that " Mr. 
Playford did give him the Latin songs of Mr. Dering, which he lately 
printed." The first set in 4 books, folio, is advertised in 1664; the 2nd 
set in 3 books in 1674 and later. 

1676 A Paraphrase upon the Psalms of David, by G.S., set to 
new tunes by Henry Lawes, 1676, 8vo. 

1676 Choice Ayres and Songs, to sing to the Theorbo-lute or Bass 
to Viol, folio, 5 books, the first dated 1676, the fifth 1684. There 

1684 are earlier editions of the first book, one of which is adver- 
tised in 1669 and in 1674. In the last book John Playford 
bids farewell to the public. 

1678 Musick's Handmaid, New Lessons and Instructions for the 
etc. Virginals or Harpsychord, 1678, oblong 4to, music engraved. 
An edition advertised in 1666 and 1669 ; in 1673 as newly re- 
printed, and again in 1684 as newly reprinted with additions ; 
in 1685-88-90-95 as in two books or parts. 

1683 Sonnatas of III Parts for two Violins and a Basse, or the 

Organ and Harpsichord, composed by Henry Purcell for 

the author, and sold by I. Playford and I. Carr, at the 
Temple, Fleet Street, 1683. Thos. Cross, junior, Sculp. 
4to, 4 parts. 

The Delightful Companion, a new book of lessons and 
instructions for the Recorder and Flute (advertised in 1684, 
1685 and 1688). 

1684 A Musical Entertainment, performed on November XXII, 

1683, it being the festival of St. Cecilia London, printed 

by J. Playford, junior, and are to be sold by John Playford, 
near the Temple Church, and John Carr, at the Middle 
Temple Gate, 1684, 4to. 

1685 Ditto, on November XXII, 1684, printed by John Playford, 
and are to be sold by John Carr, T685, 4to. 

1685 The Division Violin, containing a collection of divisions 
upon several grounds for the treble violin, being the first 
musick of the kind made publick ; 2nd edition much enlarged, 
printed on copper plates, 1685, oblong 4to. (The 1st edition 
advertised in 1684 ; and in 1695, as in 2 books; in 1700 as 
the 4th edition in 2 books ; the 5th edition is dated 1701. 

Note. — All the editions of Playford's publications after 1686 have 
Henry Playford's imprint, and after 1704, that of William Pearson, and 
are sold by John Young. 

Playford, John, Junr. The elder son of the senior 

Playford, who was probably- 
born at Islington about 1655. He seems to have been 
apprenticed to a printer, most likely to William Godbid, with 



102 

whose son he commenced in business in Little Britain about 
the year 1679. (See Godbid in the present volume.) 

A. Godbid and John Playford, junior, print together many 
musical works for the elder Playford, as well as other 
literature. Sometime after 1682 Godbid's name is absent and 
John Playford alone prints musical works for his father and 
brother, as "Choice Ayres and Songs," 5th book, 1684, folio, 
" The Theater of Music," 1st book, 1685, folio, "The Dancing 
Master," 7th edition, 1686, also for Joseph Hindmarsh "A 
Third Collection of New Songs, never before printed, to words 
by Mr. D'Urfey," 1685, folio. 

Young Playford died in 1686, and the London Gazette, of 
the 6th of May in that year is said to contain an advertise- 
ment for the sale of his printing house and plant. 

Playford, Henry. The second son of John Playford, 
senior, born about 1657. He 
succeeded his father as music publisher and even before his 
father's retirement his name occurs on the imprint of a song 
book, " Wit and Mirth, an Antidote against Melancholy, 3rd 
edition, London, printed by A. G. and J. P., and sold by 
Henry Playford, near the Temple Church, 1682," 8vo (no 
music) ; this was the forerunner of the later " Wit and Mirth, 
or Pills to Purge Melancholy." 

John Playford, the father, in the fifth book of " Choice 
Ayres and Songs," 1684, tells the public that he is leaving his 
labours to " two young men, my own son, and Mr. Carr's 
son," and most of the Playford publications after this date 
bear the imprint of Henry Playford. He continued the pub- 
lishing of new editions and also issued many entirely new 
works. As one or two of his imprints prove, he had his house 
in Aiundel Street, Strand, "over against the Blew Ball"; 
another is : " over against the George." It is likely that he 
died about 1706, though one authority gives 1710. As proved 
by an autograph letter he was alive in July, 1703. His stock- 
in-trade seems at first to have gone to John Cullen, who, in 
1707, on Keller's "Thorough Bass," advertises a number of 
his works — " Harmonia Sacra," "Dancing Master," 13th 
edition, "Apollo's Banquet," "Original Scotch Tunes," "A 
Collection of Lancashire Hornpipes," " Wit and Mirth," etc. 
Later than Cullen, William Pearson and John Young continue 
some of Playford's editions. 

Most of Henry Playford's publications, like those of his 
father's, were printed from type, but there are also some from 



103 
engraved copper plates, including many single half-sheet 
songs. His new editions will be found included under his 
father's name. Some others are : — 

1682 Wit and Mirth, an Antidote against Melancholy, 3rd 
edition, 1682, 8vo (no music). 

1685 The Theater of Music, or a choice collection of the newest 
and best songs sung at Court and Public Theaters, 4 books, 
the first book 1685, the fourth book 1687, folio. 

1688 Harmonia Sacra, or Divine Hymns and Dialogues. .. .com- 
posed by the best masters of the last and present age. In 
the Savoy, printed by Edward Jones for Henry Playford, at 
his shop near the Temple Church, folio, 1688. Second 
book, 1G93. 

Ditto, 2nd edition, 1703; 3rd edition, 1714. 

1688 The Banquet of Music, or a collection of the newest and 
best songs sung at Court and at Public Theatres, with a 
thorough bass for the Theorbo-lute, Bass Viol, etc, G books, 
1G88-1692, folio. 

1G95 The Sprightly Companion, being a collection of the best 
foreign marches now played in all the camps (advertised in 
1695) 

1G95 Delicise Musicae, being a collection of the newest and best 

songs sung at Court and at the public theatres J. Heptin- 

stall, for Henry Playford, near the Temple Church, or at his 
house over against the Blew Ball in Arundel Street, first and 
second books, 1695, third and fourth, 1G9G, folio (6 books 
altogether). 

A Choice Collection of Lessons for the Harpsichord or 
Spinnet, composed by ye late Mr. Henry Purcell. . . .printed 
on copper plates for Mrs. Frances Purcell, executrix of the 
author, and are to be sold by Henry Playford, at his shop in 
the Temple, oblong. 

1697 A. Collection of Ayres, composed for the theatre, and upon 
other occasions, by the late Mr. Henry Purcell, printed by 
J. Heptinstall, 1697. 

1G97 Te Deum and Jubilate for voices and instruments, made for 
St. Caecila's Day, 1694, by the late Mr. Henry Purcell, 1697, 
folio. 

1698 The A'la Mode Musician, being a new collection of songs, 
1G98, folio. 

1G98-1702 Orpheus Britannicus, a collection of all the choicest songs, 
for one, two, and three voices, composed by Mr. Henry 
Purcell. .. .2 vols., 1G98-1702, folio. 

Ditto, 2nd edition, 170G-1711. 

1699 The whole volume of the monthly collection entitled 
Mercurius Musicus (for the year 1G99). Composed for the 
theatres and other occasions, oblong 410, 1699. Ditto 1700 
and 1 701. 



104 

1699-1700 Wit and Mirth, or Pills to Purge Melancholy, 1699, second 
part, 1700, 8vo. Later volumes and editions of this work are 
dated 1707-9-12-14-19-20 ; it ultimately extended to six 
volumes. 

The Psalmody, being plain and easie directions to play the 
Psalm tunes by letters instead of notes, fitted to all capaci- 
ties ; invented by the late Mr. John Playford, but never 
before made public ; the price of the instrument, 15s., the 
price of the book, 1/6. Advertised in 1700. 

1700 A Collection of Original Scotch Tunes (full of The Highland 
Humours), for the Violin, London, printed by William 
Pearson, in Red Cross Alley, in Jewin Street, for Henry 
Playford, at his shop in the Temple Change, Fleet Street, 
1700, oblong 4to; 2nd edition, with additions, dated 1701. 

The New Treasury of Music, in folio, advertised in 1701. 

The Divine Companion, advertised in 1701. 

Single Songs in the opera of Brutus of Alba, or Augustus, 
his triumph, set by Mr. Dan Purcell, advertised in 1701. 

1 70 1 A Collection of Ayres, in 3 parts, by Richard Motley, 
Dancing Master, oblong 4to, 1701. 

Dr. Blow's Choice Collection of Lessons for the Harpsichord 
and Spinnet, engraven, advertised in 1701. 
An Ode on the death of that late excellent master, Henry 
Purcell, by John Dryden, composed by Dr. Blow, advertised 
in 1701. 

1702 The Lady's Banquet, being a choice collection of the newest 
and most airy lessons for the Harpsichord, continued 
annually, for the year 1702 (advertised in 1703). 

Portal, Ab. 163, Strand, opposite the New Church. 
He was a music publisher for a short 
time, near the years 1775 to 1780. He published sheet and 
half sheet songs, one of which was sung in " The Liverpool 
Prize," acted 1779, and another in a pantomime of the same 
year. He published also folio collections of songs including 
" Ranelagh Songs, 1780, sung by Miss Morris, and composed 
by Michael Arne," folio, and " The Paphian Doves, a new 

book of Kisses, set for the harpsichord by different 

ingenious masters," folio. Many of his sheet songs merely 
have A. P. stamped on the plate, others give his imprint, 
Ab. Portal, 163, Strand, opposite the new Church. 

Power, Tames. An Irishman, born in Galway about 
1766. He was apprenticed to a 
pewterer and by chance was called upon to repair, in an 
emergency, the bugles of a regiment, then quartered in or 
passing through the town in which he worked. He performed 
his task so well that he became noted for the work and thus 



105 

gradually became involved in dealing in musical instruments 
and music. He set up in the music and instrument trade in 
Dublin and took his younger brother, William, who had a 
shop at 4, Westmoreland Street, into partnership. 

The brothers conceived the idea of a collection of Irish 
Melodies, with words to be written by several poets, chief 
among whom was to be Thomas Moore, the music being fitted 
and arranged for publication by Sir John Stevenson ; it seems 
to have been intended to run much on the same lines as 
George Thomson's Scottish Collection, then publishing. 
Stevenson appears to have communicated the project to 
Moore, who was then in England, and who replied favourably. 
It is said that he agreed to write six songs for ,£50, but the 
first number of the Irish Melodies contains twelve Songs, and 
the work was entirely left in Moore's hands. The enormous 
success of it, after the publication of the first number, led to 
an arrangement for the payment to Moore of an annuity 
of ^"700. Near the end of the year 1807, James Power 
removed to London, and in 1808 was settled at 34, Strand, as a 
military musical instrument maker and music seller, while his 
brother William stayed in Dublin, and they published works 
in common. The first six numbers of the Irish Melodies, 
which were reprinted over and over again, was of course the 
principal of these. Power had the exclusive right to publish 
music to Moore's songs, and besides single sheet songs the 
following were issued by him, " Popular National Airs," 6 
books, 1 818 to 1828, " Sacred Songs," " Evenings in Greece," 
etc. Other collections include " Canons, Catches, & Glees," 
by Sir J. Stevenson, " A Selection of Scotish Melodies," by 
Horace Twiss, " Indian Melodies," C. E. Horn, " British 
Melodies," by Clifton and Dovaston (only the first volume), 
and an edition of Edward Bunting's first Irish collection. 
Moore's "Irish Melodies" extended down to the year 1834. 
Copies of the numbers after the 7th are by no means common. 
Addison & Hodson acquired, after Power's death, the plates 
and copyright of at least the "Irish Melodies." Whatever 
partnership had at one time existed between the two brothers 
it does not appear to have continued. James Power died 
October 26th, 1836, and his widow, in 1844, advertises that she 
alone holds the privilege of publishing music for any of 
Moore's lyrical works. For some notice of James Power see 
the " Literary Gazette," No. 1024, 1836. 



106 

Preston & Son. J°hn Preston, the founder of the 
firm, was, according to the directory 
of 1774, then established at 9, Banbury Court, Long Acre, as 
musical instrument maker, and possibly as music publisher, 
though I have as yet found no music bearing this address on 
the imprint. In 1776, he was at 105, Strand, near Beaufort 
Buildings, publishing books of Lessons for the guitar, etc. He 
advertises "the greatest variety of new music and musical 
instruments, ruled paper, etc., wholesale and retale." In 1778 
he had removed to 98, Strand, a mistake in the directory 
possibly for 97, for at this latter number the firm remains 
from before February, 1781, till about 1822. John Preston's 
business soon became an important one, and he published a 
great quantity of the best music of his day. In 1789, Preston, 
who had just taken his son Thomas into partnership, bought 
the whole plates and stock-in trade of Robert Bremner, and 
had additional premises at Exeter Change. 

Between 1798 and 1801, John Preston disappears from the 
firm (though in some instances the old style, Preston & Son, is 
used), and Thomas alone remains. In 1823 Thomas Preston 
had left the Strand and was at 71, Dean Street, Soho, where he 
remained until after 1833. In 1837, Messrs. Coventry & Holliers 
have possession and are re-publishing from Preston's old 
plates. Coventry & Hollier are advertising in 1848, but their 
names are not in the Musical Directory for 1853 > Novello & 
Co. were large purchasers at the sale of their effects. 

The Preston publications are very numerous. They in- 
clude a great number of the English operas in oblong folio and 
the usual popular sheet music, besides a long series of Country 
Dances in yearly sets of twenty-four for the violin in oblong 
8vo. This series started with the set for 1786 and reached 
down to at least 181 8. The dances are numbered (with 
occasional mistakes) continuously, reaching at the end of the 
1818 set to No. 861 ; printed on both sides of the paper. They 
also published Country Dances in folio and oblong 4to. Other 
more important works were Bunting's " Ancient Irish Music," 
vol. 1 (1796) — the original publication, freely pirated by Irish 
music printers. " Twelve Original Hibernian Melodies," 
Miss Owenson, folio, " Shakespeare's Dramatic Songs," W. 
Linley, 2 books, folio, " Musica Antiqua," J. S. Smith, 2 vols., 
folio. They were also the London publishers and printers of 
George Thomson's " Scottish, Irish, and Welsh Collections." 



107 

Plirday & Button. 75, St. Paul's Church Yard. They 

were the direct successors to the 
Thompson family, and came into possession of the premises 
about 1804-5. They published sheet music some of which is 
dated 1805 and 1806. In 1807 the names were transposed 
into Button & Purday, and in 1808 the firm became Button & 
Whitaker. 

Purday, .Zenas. Took Bland's old shop at 45, Holborn, 
succeeding William Hodsoll about 
1833 ; he was at this address in 1853 an< ^ published a great 
deal of popular sheet music, especially humorous songs. 

Purday, X. E. 5°» St. Paul's Church Yard, published 
sheet music and advertised in 1838 ; 
— was at the above address in 1853. 

Pyper, John. Published (circa 1610-20) " Parthenia 

Inviolate, or Mayden Musick for the 

Virginalls and Bass Viol, printed by John Pyper," oblong 4to, 

no date, see Rimbault's " Musical Illustrations of Percy 

Reliques," 1850, p. 6. 

Randall, P. Had a shop at Paul's Grave, without 
Temple Bar at the sign of the Violin and 
Lute; this was in 1707 and 1708, but a few years later he 
seems to be in some way a partner of John Walsh, senior, 
with the Catherine Street address. If such a partnership 
existed it cannot have been of long standing, for Randall's 
name is soon omitted from the Walsh imprints, and in many 
cases plates show that his name has been present, but after- 
wards erased. 

1707 The Union ; Mr. Isaack's new dance, performed at Court on 
her Majesty's birthday, 1707, London, printed for J. Walsh, 
at ye Harp and Hoboy....J. Hare, at ye Viol and Flute, 
in Cornhill, and P. Randall, at ye Violin and Lute, without 
Temple Bar, oblong 8vo. (Taphouse). 

1708 Lyra Davidica. . . .printed for J. Walsh, .and J. Hare, instru- 
ment maker, at the Golden Viol and Flute, in Cornhill, near 
to Royal Exchange, and P. Randall, at the Violin and Lute, 
by Paul's Grave Court, without Temple Bar, 1708, small 
8vo (Quoted — " Musical Times," April, 1898.) 

1708 Twenty-four new Country Dances for the year 1708 

I. Walsh.... I. Hare.... and P. Randall, at ye Viol and 
Lute, without Temple Bar, in the Strand, oblong 8vo. 
(Taphouse). 

1711 Twenty-four new Country Dances for the year 1711 

London, printed for I. Walsh, servant to her Majesty, and 
P. Randall, at the Harp and Hoboy, in Katherine Street, 



108 

and J. Hare, at the Viol and Flute, in Cornhill, oblong 8vo. 
(British Museum.) The dances for 17 14 have Randall's name 
erased. 

Pepusch's Cantatas and other of Walsh's publications have 
similar imprints. 

Randall, William. Was probably a son or other 

relation of the above. On the 
death of John Walsh, junior, in 1766, he, with another named 
Abell, took over the business and the shop in Catherine Street. 
Randall & Abell were not, however, long in partnership and I 
have only seen two works bearing their imprints "The Messiah" 
(which they were the first to print in full), and " The Accom- 
plished Maid, a comic opera London, printed by Messrs. 

Randall & Abell at the late Mr. Walsh's in Catherine Street, 
in the Strand," 8vo. (acted in 1766), a continuation of a series 
of ballad operas commenced by Walsh. William Randall 
was in business alone before 1771 and re-printing Handel's 
works from the old plates, as well as issuing fresh works of 
his own. He also purchased and reprinted some of Oswald's 
plates and projected a general collection of Oswald's own com- 
positions. This does not appear to have gone very far how- 
ever, and the reprint from the old plates of the " Comic Tunes 
in Queen Mab," which bears the imprints of Wm. Randall, 
and of Straight & Skillern, was probably the first. (See 
Oswald.) 

From some few of Randall's imprints, we, for the first 
time, get the number of the Walsh premises which were 
No. 13, Catherine Street. Randall's business must have been 
fairly extensive and he printed a lengthy " Catalogue of Vocal 
and Instrumental Music for the year 1776" ; this is interesting 
from a bibliographical point of view. The bulk of the list seems 
to be Walsh's publications. I have not been able to ascertain 
the date of his death, it must have been between 1777 and 
February 27th, 1781, for at this latter date there is an adver- 
tisement in the " General Evening Post," of a music book, 
which, giving the name " Eliz. Randall, Catherine Street," 
shows that the business was held presumably by his widow. 

Before 1784, Messrs. Wright & Wilkinson were established 
at 13, Catherine Street, and re- printing Handel's works from 
Walsh's plates. In 1789, Hermond or Harman Wright 
was here alone until at least 1799 ; in 1802 he had vacated the 
old place and gone to the Strand. 

In addition to the works named above, the following have 
Wm. Randall's imprint : — " A Plain and Easy Introduction to 
the Skill of Music," Thomas Morley, 1771, 4to, a reprint of 



109 

the 1597 edition; "A Second Collection of French Songs and 
Duetts," Meyer, oblong 410 ; " Six Solos for a German Flute, 
by I. R., Esq. (John Reid, afterwards General Reid)," oblong 
folio, reprinted from Oswald's plates. Several collections of 
Vauxhall songs, in folio, as: — Potters, 1773-4; Carters, 1777 
Hooks, 2nd collection, 1777; etc., "Twenty-four Country 
Dances" for 1 771 -2-6, oblong 8vo., etc. 

Ratcliffe, T. A printer in partnership with N. Thomp- 
son. They printed in 1675 the "Vocal 

Musick in Psyche to which is adjoyned the instrumental 

musick in the Tempest, by Matthew Locke London, 

printed by T. Ratcliffe and N. Thompson, for the author, and 
are to be sold by John Carr at his shop at the middle Temple 
Gate, in Fleet Street, 1675," 410. (Taphouse). Also the famous 
" Musick's Monument," by Thomas Mace, 1676, folio. 

Rauche, Michael & Co. Published about 1770, 

" Thirty-eight Lessons, 
with an addition of Six French and Italian Songs, for the 
Guittar, composed by F. Shuman, op. 1st, London, printed for 
and sold by Michael Rauche & Co., at the sign of the Guittar 
and Flute, in Chandois Street, near St. Martin's Lane," oblong 
4to, circa 1770, p.p. 38. 

Rayner, William. Published in 1738 a volume of 

songs with engraved headings in 
similar style (but preceding) "Clio and Euterpe," "Calliope," 
etc. The book is octavo and the engravings are signed J. 
Smith, fecit; it consists of 143 sheets printed on one side only, 
with the title " The Universal Musician, or the Songster's 
Delight, consisting of the most celebrated English and Scottish 
Songs, favourite Cantatas, &c. ; designed for the entertainment 
of lovers, country sportsmen, jovial companions, and all others 
who have any taste for mirth, good humour, and polite conver- 
sation, vol. 1, London, printed for William Rayner, 1738," (no 

address ; another copy is printed " for the booksellers." 

(British Museum, Bodleian, etc.) 

Reynolds, J. Of *74> Strand, with afterwards another 
address at 10, Broadway, Ludgate Hill, 
published about 1825 a tutor for the violin, oblong 4to, also 
"The Amateur's Flute Companion," by G. W. Bown, small 
410, probably some years earlier. In 1853, J. Reynolds is at 
173, Bethnal Green Road. 



110 

Riley, Edward. 8> Strand, near Charing Cross. He 
was in business here, according to 
the directory in 1799, and in 1802 ; he issued a set of twenty-four 
Country Dances in oblong 8vo for the former year. He was 
a music engraver as well as a music seller, and engraved some 
sheet music for G. Walker; " Sunday Amusement," an octavo 
volume, is also his work. Much sheet music has his imprint 
as engraver and publisher. At one time his address was 196, 
Fleet Street, which was probably a prior one to that in the 
Strand. I have not found when he ceased from business. 

Riley & Willis. 2 3> Commerce Row, Blackfriars 

Road, published sheet music about 

1805-10, which is marked as sold also by W. Howe, 1, Alfred 

Place, London Road, St. George's Fields. The senior 

partner may be the E. Riley above. 

Roberts, Henry. An ornamental and a music 
engraver, who issued two notable 
books of illustrated songs. One named " Calliope, or English 
Harmony," 2 vols., octavo, and the other "Clio and Euterpe, 
or British Harmony," originally published in two volumes, 
but with a third and a fourth added later. In both works the 
song and the music is engraved under a pictorial heading, 
which is supposed to illustrate each lyric. "Calliope" was 
published in numbers of eight pages each, and was commenced 
late in the year 1737. Twenty- five numbers (two hundred 
pages) form the first volume, which bound up with a title page 
is dated 1739; the plates themselves have the dates 1737-38 
and 1739 engraved on them. The second volume has 1739 for 
the date of the first two parts, but the work then seemed to 
come to a standstill until about 1745-6, when John Simpson, 
of Sweeting's Alley, got possession of the plates and employed 
Roberts to finish the volume. The contents include " God 
Save the King," and other songs taken from the Gentleman's 
Magazine for 1745, and one from 1746. The title page, 
which does not bear a date, has an advertisement of an ode 
upon the return of the Duke of Cumberland after the victory of 
Culloden, showing that the publication is as late as 1746. I 
am thus particular in proving the date, for it has been more 
than once asserted that the song " God Save the King " is in 
"Calliope" prior to 1745. The work was afterwards repub- 
lished by Longman & Broderip. " Clio and Euterpe," perfectly 
similar in style, was probably also published in numbers ; the 
first edition was in two volumes dated 1758 and 1759 ; it was 
again re-issued in three volumes, with the date 1762. At a 



Ill 
much later period John Welcker had the plates and re-issued 
it again with an incomplete fourth volume. 

Henry Roberts also engraved some ornamental music 
titles ; one is a dedication to Augusta, Princess of Wales, on 
Giuseppe St. Martin's "XII Sonatas," published by Walsh. 
Another much later is a tastefully etched vignette on the title- 
page of " Elegies by Wm. Jackson, of Exeter, printed for the 
author and sold by Mrs. Johnson, of Cheapside," folio, circa 
I765- 

The imprint on " Calliope," volume first is : — " London, 
engraved and sold by Henry Roberts, engraver and printseller, 
at his shop in New Turnstile, over against the Vine Tavern, 
in High Holborn, of whom may be had compleat setts or any 
odd numbers, likewise all sorts of prints, maps, drawing books, 
etc., 1739." Vol. 2nd is London, engraved by Henry Roberts, 
printed for and sold by John Simpson, at the Bass Viol and 
Flute, in Sweetings Alley," etc., no date. The second volume 
of " Clio and Euterpe " has the imprint, " London, sold by 
the proprietor, Henry Roberts, engraver and printseller, near 
Hand Alley, almost opposite Great Turnstile, Holborn, 1759." 

Rogers, \A/ r illiam. Published "A New and Easie 

Method to learn to sing by book 

printed for William Rogers, at the Sun, against St. 

Dunstan's Church, in Fleet Street, 1686," i2mo. {Taphouse.) 

Rolfe ^filliam. II2 > Cheapside, appears to have 
commenced business about 1798, 
when his name first occurs in the directory at 118. Cheapside, 
evidently a misprint, which is corrected to 112 in the ones for 
1799 to 1807. He published sheet music, and his name, with 
others, is on the imprint of a small oblong volume "The 
Gentleman's Pocket Companion for the German Flute or . 
Violin," circa 1799. Another work is "William Rolfe's 
Elegant and Fashionable Collection of Twenty-four Country 

Dances for the year 1799, London, printed for William 

Rolfe, 112, Cheapside, where may be had a new set of dances 
for the year 1799," oblong 8vo. 

Rose, William. 53. Strand, near Buckingham Street, 

published some folio numbers of 

Country Dances ; one is : — "No. i, Rose's Collection of Country 

Dances for the year 1826, composed and arranged by J. Hixon," 

folio. 



112 

Royal Harmonic Institution. A number of 

musicians of 
whom William Hawes was the most active member, took, 
about the year 1820, extensive and handsome premises at the 
Argyll Rooms, 246, Regent Street, for the performance of 
Concerts and for the sale of music, which was published in a 
co-operative manner and bore the imprint " Published by the 
Royal Harmonic Institution, 246, Regent Street." Music by 
the members was thus issued, including Dr. Crotch's 
"Thorough Bass" and his "Specimens of various styles of 
Music," 3 vols., folio. " A Collection of Scotch Songs, by 
William Hawes," and a great mass of sheet music. They 
were advertising in 1821, but in or about 1825 the Society got 
into difficulties and the business was left in the hands of Hawes 
and of Thomas Welsh, a teacher of singing. They did not, 
however, remain together very long, and ultimately Welsh was 
left in sole possession of the premises. He published and sold 
music besides using the rooms for singing lessons and concerts. 
From the first conception of the Royal Harmonic Institution, 
the thing had been an utter failure, and a fire which occurred 
in February, 1830, put a stop to its continuance. 

Rutherford, David Apparently father and son. 
Xr TnVin David Rutherford, a Scotch- 

J ' man, kept a music business at 

the sign of the Viol and German Flute, in St. Martin's Court, 
near Leicester Fields, and was succeeded by John Rutherford. 
The first named may have been in trade as early as 1745 ; he 
published books of Country Dances, Minuets, and of instruc- 
tions for various instruments. Among other works he issued 
an octavo edition of William Mc Gibbon's Scotch Airs in six 
books. Some half sheet songs signed I. R., may also 
be referred to him. He must have published an oblong octavo 
volume of twenty-four country dances for 1749, as the yearly 
set for 1750 starts at page 13, dance No. 25. These yearly 
sets were gathered into volumes containing two hundred 
dances, and the first of these collections are the yearly dances 
from 1749 to 1756 inclusive. The second volume of two 
hundred will probably be those from 1757 to 1764, and the 
third, bearing the imprint of John Rutherlord, will reach 
to 1 771-1772. My copy of the 2nd volume has unfortunately 
the title with the imprint missing. John Rutherford re-issued 
the whole three volumes from the same plates. I am uncertain 
as to when David Rutherford was succeeded by John, but the 
latter issued Country Dances for 1772, and he is named in the 
directories for 1781 and 1783. 



113 

David Rutherford : — 

1750 Twenty-four Country Dances for the year 1750, oblong 
8vo, p.p. 13 to 24. (Glen). 

C. 1756 Rutherford's Compleat Collection of the most celebrated 
Country Dances, both old and new.... vol. 1st, printed and 
sold by David Rutherford, at the Violin and German Flute, 
in St. Martin's Court, near Leicester Fields, London, oblong 
8vo, 200 dances (from 1749 to 1756). 

Ditto, volume 2nd. Ditto, volume 3rd ; this latter has the 
imprint of John Rutherford, same address. 

C 1748-50 Sixteen of the most favourite Minuets, with their basses, 
which are now in vogue, 8vo. Ditto, a second collection. 

C. 1756 A Third Collection of Sixteen of the most favourite 
Minuets, with their basses. . . .London, printed and sold by 
David Rutherford, at the Violin and German Flute, in St. 
Martin's Court, 8vo. Ditto, a fourth collection. 

The Gentleman's Pocket Guide for the German Flute, 
with favourite airs by eminent masters, 8vo. 

The Ladies' Pocket Guide, or the Compleat Tutor for the 
Guitar, with favourite airs. 

The Compleat Tutor for the Fife, 8vo. 

A Collection of Scots Tunes, some with variations for a 
violin, hautboy, or German flute, with a bass for a violoncello 
or harpsichord, by William Mc Gibbon. — Books I to VI with 
separate title pages to each, 8vo. Mc Gibbon's first Edin- 
burgh editions were published in 3 books, 1742-46-55 in 
oblong folio. 

John Rutherford : — 

1772 Twelve Selected Country Dances, with figured basses for 
the harpsichord, for the year 1772. ... London, printed for 
John Rutherford, in St. Martin's Court, near Leicester 
Fields, oblong 8vo. (Sir J. Stuiner.) 

C. 1772 A Favourite Overture for the Harpsichord or Pianoforte, 
composed by Sig. Schwaneberg, London, John Rutherford., 
where may be had 60 Country Dances for 2s. 6d. ; 12 ditto 
for the year 1772. 

C. 1776 The Sixth book of twelve favourite Cotillons and Country 

Dances, with their proper figures. . . .Thomas Budd, London, 

printed and sold by John Rutherford, at his music shop in 

St. Martin's Court, oblong i6mo. 

Thomas Budd seems to have been master of the ceremonies at the 

Pantheon, and between 1773 (or prior) and 1801 he and his son published 

sets yearly, employing minor music publishers for printing and selling the 

same. 

Rutter & McCarthy. 120, New Bond Street. They 

were publishers of sheet 
music, vocal and instrumental, about the year 1820, etc. 
Their names are in the directories for 1819-22-23-24, but not 
in 1825. 



114 

Salter, Humphrey. An early music seller at the 

sign of the Lute, in St. Paul's 
Church Yard. He published, in conjunction with Richard 
Hunt, in 1683, " The Genteel Companion, being exact^ direc- 
tions for the Recorder, with a collection of the best and newest 
tunes and grounds extant, carefully composed and gathered by 
Humphrey Salter... London, printed for Richard Hunt and 
Humphrey Salter, at the Lute, in St. Paul's Church Yard, 
1683," oblong 8vo. (See Hunt.) So late as 1705, his name 
is found on the imprint of a work printed by Wm. Pearson, 
" The Complete Dancing Master's Companion, containing 
the Marlborough, Mr. Isaack's new dance... danced at Court 
on her Majesty's birthday, 1705: the third book... London, 
printed by William Pearson, and sold by John Cullen, and 
Humfrey Saulter, at the Lute, in St. Paul's Church Yard," 
oblong 8vo (Taphouse). I have seen no later date for Salter. 

Schuchart Ch. In the British Museum (G. 312, p. 
289) there is a song sheet " Miss 
Betty Ball, a new song," with the imprint " Ch. Schuchart, 
at the 2 Flutes and Hautboy, in Chandois St.," apparently 
printed about 1750. This is the only example of his publica- 
tions I have seen. 

Scott & Co. Were patent pianoforte makers to the 
Prince of Wales and Royal family. In 
1806 and 1807 they were at 15, Margaret St., Cavendish 
Square, but in 1808 they had removed to 36, Pall Mall, and 
were here in 1810. In 1820 their business was at 29, Mortimer 
Street, Cavendish Square. They issued some sheet music 
from the Pall Mall address. 

Seres, William. An early and important printer, 
who worked in conjunction with 
John Day and others. He was printing in 1548 and 1549, 
and was one of the earliest members of the Stationers' Com- 
pany, serving the offices of Warden and Master, this latter in 
1570-1-5-6-7. Strype relates that Seres "had a privilege for 
the printing of all Psalters, all manner of Primers, English, 
and Latin, and all manner of prayer books ; that as this 
privilege was taken aw T ay by Queen Mary, so it was restored 
by Queen Elizabeth, by means of Lord Cecil, with the addition 
of the grant to him and his son during the life of the longest 
liver, and that this gave occasion to a great case, for Seres, 
the father, in his latter years, not being able to follow his 
business assigned his privilege, with all his presses, letters, 



115 
stocks, and copies, to one Henry Denham, for a yearly rent. 
Denham took seven young men of the Company, setting up 
presses more than England might bear, did print other men's 
copies forbidden to them," etc., etc. (see extract in Johnson's 
" Typographia"). His music printing seems to have been 
confined to one or two Psalters and similar works. — 1560 and 
prior. 

Shade, G. Published a great deal of sheet music near 
the years 1820-5, etc. His first imprint 
(lightly etched, on some sheet music, circa 1815) is "printed 
and sold by G. Shade, 9, Charles Street, Soho." Before 1817 
he was in Soho Square, anda bout this date, and afterwards, his 
music bears the imprint " G. Shade, East side of Soho 
Square." From this address he published some folio collec- 
tions of Country Dances, etc., one is " No. 7," and another, 
" Draper's Collection of favourite Waltzes, for the year 1818, 
by Louis Jansen, marked Dances No. 2." He printed also a 
large quantity of song sheets ; one of these, " A Trip to Mar- 
gate," has humorous marginal illustrations in a style then very 
popular. 

Short, Peter. Lived at the sign of the Star, on Bread 
Street Hill, from about 1584 to 1603. 
He was a music and letterpress printer, and in addition to the 
first edition of Mor ley's Treatise on Music, 1597, and Anthony 
Holborne's " Cittharn Schoole," 1597, he produced a number 
of madrigal books. 

In 1608, Humfrey Lownes is found at the " Starre on 
Bread Street Hill," and apparently succeeded to Short's 
business. 

1597 A Plaine and Easy Introduction to Practical Musick by 

Thomas Morley. .. .Imprinted at London, by Peter Short, 
dwelling on Breed Street Hill, at the signe of the Starre, 
1597, folio. 

i<597 The Cittharn Schoole, by Anthony Holborne, 1597, (same 

imprint). 
l 597 Canzonets, or little short songs, to foure voyces. .Thomas 

Morley, 1597, 4to. 

1597 The First Booke of Songes or Ayres of four parts. . . .John 
Dowland, 1597, folio. 

1 597 Canzonets, or Little Short Airs to five and sixe voices. . . . 
Thomas Morley, 1597, 4to. 

1598 Canzonets to fowre voyces, with a song of eight parts, 
compiled by Giles Farnaby, 1598, 4to. 

*599 Ayres for foure voyces, composed by Michael Cavendish, 
1599, folio. 



116 

i6or The Second Booke of Songs and Ayres, set out to the 
Lute. . . .Robert Jones, printed by P. S., for Matthew Selman, 
by the assent of Thomas Morley, and are to be sold at the 
Inner Temple Gate, 1601, folio. 

1603 The Third and Last Booke of Songs or Aires, newly com- 
posed to sing to the Lute, Orpharion, or Viols.... by John 
Dowland, 1603, folio. 

Sibley, ^Af. King's Mews Gate, Castle St., Leicester 

Square, published sheet songs about 1818. 

He also republished from the original plates, the series of 

Country Dances in folio " Five Favourite Country Dances," 

No. 1 to 36, first published by H. Andrews. 

Simpson, John. Of Sweeting's Alley, Cornhill, near 
the Royal Exchange. He was a 
publisher of many important works during the early part of 
the eighteenth century. He seems to have been a manager or 
assistant to Mrs. Hare, the widow of Joseph Hare, who had 
a shop near or in the same premises occupied by Simpson. 
One of the original addresses of the Hare family was Free- 
man's Yard, Cornhill, but many of the imprints, especially the 
later ones, merely give the name " in Cornhill," or " in Corn- 
hill, near the Royal Exchange." Joseph Hare died in July, 
1733, and the first notice I can find of Simpson is the half 
erased imprint on a page in the first volume of " Thesaurus 
Musicus " (p. 65). Most of the pieces forming the contents of 
this work have been single songs, issued by Simpson (and 
having his name at the foot), before being collected into a 
volume. The page in question is " A two part song on the 
approaching nuptials of the Prince of Orange and the Princess 
Royal of Great Britain." This event occurred on the 14th 
of March, 1734, so that it may be well assumed that the song 
was issued prior to this, and the probability is that it was pub- 
lished by Simpson, like others, in the volume. It has the imprint 
" Printed for J. Simpson, in Sweeting's Alley, Royal 
Exchange," which can still be easily read on most copies. 
Another early notice is an engraved slip pasted over the im- 
print of a work issued by John Walsh, about 1736, " Sold by 
John Simpson, at the Viol and Flute, in Swithen's Alley, near 
the Royal Exchange, London, from the late Mrs. Hare's, in 
Cornhill." Mrs. Hare died in 1741, having been living at 
Islington (see Hare). Though Simpson always afterwards 
spelled the word Sweeting's, yet a contemporary work, " New 
Remarks of London," 1732, makes it evident that the Alley 
was then known indifferently as " Swithen's," or as " Seeth- 
ing's Aliey." It was adjoining Freeman's Yard and ran from 



117 

the back of the Royal Exchange. Thackeray speaks lovingly 
of Sweeting's Alley and its print shops — " Knights, in Sweet- 
ing's Alley; Fairburn's, in a Court off Ludgate Hill... not only 
has Knight disappeared from Sweeting's Alley, but, as we are 
given to understand, Sweeting's Alley has disappeared from the 
face of the Globe." [Essay on Geo. Cvuikshank, 1840.) 

Though Simpson adopted the same sign used by John and 
Joseph Hare, the Viol and Flute (or Bass Viol and Flute), yet 
in the engraved slip above quoted the use of the word " from " 
rather precludes the idea that he was settled on the same 
premises, though Hare's and Simpson's shops must have been 
quite close to each other, and there is no trace that after the 
death of Mrs. Hare the old business was carried on by any 
one else. I have not found anything to lead me to suppose that 
Simpson had possession of any of Hare's plates. Simpson 
must first have published single half-sheet songs, and many of 
these were re-issued to form "Thesaurus Musicus." In the 
earlier period he published, in conjunction with one of the 
proprietors of the printing office in Bow Church Yard (most 
likely Dicey), as a flute tutor has the Bow Church Yard im- 
print and "sold also by John Simpson, musical instru- 
ment maker, at the Viol and Flute, in Sweeting's Alley, near 
the Royal Exchange, from the late Mrs. Hare's, in Cornhill." 

Simpson's publications include the two scarce volumes of 
Irish tunes by Burk Thumoth ; some of James Oswald's 
works; Carey's "Musical Century," "Calliope," etc. He 
died shortly after 1746 (probably in 1747) and was succeeded 
by John Cox, who published one or more works from Simp- 
son's plates. There is nothing to indicate that Cox retained 
the business very long, but much later in the century two 
musical instrument makers named James and John Simpson, 
who also sold music, were established at 14 (or 15), Sweeting's 
Alley. These, we may assume, were sons, or more likely son 
and grandson of the original John Simpson (who was also a 
maker of instruments), and they are often confounded with him. 

The Directory for 1770 first names James and John 
Simpson, musical instrument makers, No. 15, Sweeting's 
Alley, and they hold position till 1795. In 1796 the entry is 
"J. Simpson, 14, Sweeting's Alley," and in 1800 the Christian 
name is "James." In the "Times," July 12th, 1796, and 
other dates, a " Set of Twelve Hymns, set to music by 
J. F. Hering" is advertised to be sold by Mr. J. C. Simpson, 
Sweeting's Alley. 



118 

Eighteen Canzonets for two and three voices, the words 
chiefly by Matthew Prior, Esq., set to music by John 
Travers (quoted in " Musical World," 1837, p. 44). 

Six Sets of Lessons for the Harpsichord. . . .composed by 
Sig. Sandoni ; oblong folio. 

Six Cantatas, set to music by Wm. Hayes. 

The Newest Method for learners on the German Flute, as 

improved by the greatest masters of the age engraved, 

printed and sold at the printing office in Bow Church Yard, 
in London, where books of instructions for any single instru- 
ment may be had ; also by John Simpson, musical instrument 
maker, at the Viol and Flute, in Sweeting's Alley, near the 
Royal Exchange, from the late Mrs. Hare's in Cornhill, 8vo. 

The Compleat Tutor for the Harpsichord or Spinet, 8vo. 

Twelve Scotch and twelve Irish Airs for the German 
flute or harpsichord, by Mr. Burk Thumoth, 8vo. 

C. 1740 The Musical Century, consisting of English Cantatas and 
Songs, on various Subjects. .. .set to musick by Mr. Henry 
Carey. .3rd edition, folio, plates dated 1740. 
(The first edition of this was " printed for the author and 
sold at the music shops, 1737.") 

C. 1746 Calliope or English Harmony, a collection of the most 
celebrated English and Scots Songs, volume 1st and 2nd. 
(Originally commenced and first volume published by 
H. Roberts, the engraver, completed by Simpson). 

Thesaurus Musicus, a collection of two, three and four 
part songs, several of them never before printed. .. .Ditto, 
volume 2, folio. (This is said to have borne a prior title, 
" Harmonia Anglicana " (see Chappell, 704). Re-published 
by Bremner. 

The Delightful Pocket Companion for the German Flute 

(two volumes, six parts in each, with the same frontispiece to 

each part ; by Geo. Bickham, junr.) ; 8vo. Republished by 

Bremner. 

Also many single half-sheet songs published circa 1745, many having 

reference to the Scotch rebellion. 

Other works advertised in Simpson's list are ; — 

A Curious Collection of celebrated Airs .... composed by 
Messrs. Granno, Weideman, Hasse, Vinci, and other eminent 
masters. 

Twelve Sonatas or Solos for a German flute.... by Mr. 
Lewis Granom. 

Six Grand Concertos for Violins, and in 7 parts ; Six Solos 
for a German flute; and Six Sonatas for two German flutes, 
by Sigr. Giuseppe St Martini of London. Also other 
Sonatas, &c, for the German flute and for the violin, by 
Lampugnani, St. Martini of Milan, Groneman, Defesh, 
Tortoriti, etc. 

Handel's Water Music for the Harpsichord. 

The Hunting Notes of the French horn. 

A Collection of Minuets, Jiggs, etc. 



119 

The Musical Pocket Book, containing a collection of the 
most favourite Minuets, Marches, Jiggs, Preludes, Gavots, 
etc., etc. 

Two Collections of all the most favourite old and new 
Scotch tunes. .. .James Oswald. 

The Compleat Tutor for the Violin. Ditto for the German 
flute, common flute, harpsichord or spinnet, French horn, 
hautboy, bagpipe. N.B. — These books, besides the instruc- 
tions, have collections of the newest and most favourite airs 
in them. 

An Introduction to Singing, after so easy 'a, method that 

persons of the meanest capacity may, in a short time, learn 

to sing in tune. . . .Peter Prelleur. 

The list from which the above selections have been made is at the 

end of a copy of the " Delightful Pocket Companion" ; it concludes — 

N.B. — " Also a variety of all the newest concertos, solos, sonatas, songs. 

All sorts of musical instruments, Roman strings, reeds for hautboys, and 

Bassoons, rul'd paper, rul'd books, &c, wholesale and retail. Where may 

be had money for old instruments and musick books." 

Skarratt, R. T. A music engraver, who, in 1798, 
lived at 54, Great Wild Street, and 
engraved in that year a " Miscellaneous Collection of Songs, 
Ballads," etc., in 2 volumes, folio, printed for its editor, F. A. 
Hyde. Skarratt engraved Bunting's Irish Collection, 1809. 
In 1 81 7 and 181 8 he was living at 9, Platts Terrace, St. 
Pancras, and composing as well as engraving the music for the 
" British Lady's Magazine." 

Skillern, Thomas. Was partner with Thomas 

Straight (see Straight &> Skillern). 
The two names are found separate about 1777-8, with Skillern 
at the old address, 17, St. Martin's Lane, and Straight at 138 
of the same thoroughfare. Skillern appears to have retained 
the old plates and stock and continued the series of yearly 
country dance books ; he also re-printed, with additions, one 
of the larger gatherings, besides publishing a great quantity of 
new sheet and half-sheet songs ; much of this sheet music is 
merely stamped " Sk." 

Sometime after 1799, Skillern leaves St. Martin's Lane. 
In 1807 he is in partnership with Challoner and the imprint 
is now "Skillern & Challoner, music sellers, 25, Greek Street, 
Soho, removed from corner of St. Martin's Church Yard." 
About 1 81 5 to 1820, Skillern & Co. are in Regent Street; the 
directory for 1822 gives Skillern & Challoner, Regent Street, 
near Oxford Street. An address near this period found on 
sheet music is " Oxford St. (opposite the Mona Marble 
Works), between Holies Street and Bond Street." In 1830, 
N. Challoner taught the harp and violin in St. John's Wood." 



120 

1778 A Collection of Songs sung at Vauxhall .... Composed by 
Henry Heron.. ..Bk. VI, T. Skillern, 17, St. Martin's Lane, 
1778, folio. 

1779 Ditto, Book VII, 1779, folio. 

C. 1780 Skillern's Compleat Collection of Two Hundred and Four 

Reels and Country Dances, Vol. I, London, printed for T. 

Skillern, 17, St. Martin's Lane, near Charing Cross, where 

may be had a complete volume of Minuets for the Violin and 

Harp, oblong 8vo. 

These are yearly dances up to 1780, with the engraved dates. It is 

in part a re-issue of Straight & Skillern's "Two hundred and four 

Favourite Country Dances, Vol. I." 

1787 to Twenty-four New Country Dances for the year 1787, 
1799 oblong 8vo. Ditto, 1788-89-91-99 ^same imprint). 

A Favourite Collection of popular Country Dances, No. 10, 
London, Skillern & Challoner, 25, Greek Street, folio. 
Ditto, No. 18 and 20. 

Sheet music also having the above imprints and at a later date 
" Skdlern & Co., 138, Oxford Street." 

Smart, George. One of the earliest notices I can find 
is on a trade card belonging to Mr. 
Arthur F. Hill, in which G. Smart advertises : " G. Smart, 
Sticcado-Pastrole maker, from Mr. Bremner's music shop, 
New Bond Street, to Mr. Napier's, corner of Lancaster Court, 
Strand, where he continues to make the above instruments, 
with improvements." It is, of course, scarcely necessary to 
remind the readers that the instrument referred to is a sort of 
wooden dulcimer. The card is probably in date about 1770, 
and seems to imply that Smart had been a manager of a branch 
shop which Bremner must have had in New Bond Street, and 
that he had left him to take a situation under Napier. Perhaps 
the earliest publication of his I have seen, is in my own 
library : — "A New Collection of Country Dances. . .set by Monr. 
Boutmont, Dancing Master. London, printed and sold by 
G. Smart, at his music, warehouse, the corner of Argyll Street, 
Oxford Street, where may be had great variety of new music 
and Musical Instruments," oblong 8vo, circa 1775. This 
address was 331, Oxford Street, and imprints vary from one 
to the other. Smart held the premises from about 1775 until 
after 1802 ; in 1807, the address belonged to Walter Turn- 
bull. He was the father of Sir George Smart, the musician, 
and had much to do with the formation and management of a 
musical benevolent fund. His publications include, " Pieces for 
the Harp, by Dr. Worgan," folio, circa 1780, and many sheet 
songs, including one from C. Dibdin's "Talisman" (1782); 
some of the sheet? are merely signed G. S. Smart published also 



121 

yearly books of Country Dances. Besides the collection by 
Boutmont, spoken of above, I have seen sets for 1795 and 
1798 in oblong octavo. He also claimed to be a musical 
instrument maker. 

Smith ^fiftt\. A music engraver of some note, who 
was also a music seller in the Strand, 
and in Holborn. Sir John Hawkins says: — "William Smith, 
who had been an apprentice of Walsh, and lived at the sign of 
the Corelli's Head, opposite Norfolk Street, in the Strand, 
and Benjamin Cooke, in New Street, Covent Garden, were 
printers of music. The former was chiefly employed by such 
authors as Festing and a few others, who published their 
works themselves, and had a type of his own, remarkably 
steady and uniform." 

Smith, in 1731, was at the Corelli's Head, near Clement's 
Church, in the Strand, and here he engraved many works as 
Hawkins says, for various composers. About 1740 he had a 
music shop in Middle Row, near Holborn Bars, and he seems 
to have remained here until at least 1763, as "Mr. William 
Smith, musick engraver, Holborn," is asubscriber for two copies 
of Hale's "Social Harmony," dated 1763. 

C 1730 The Skylark, a collection of all the Divine Ode and Hymns 
taken out of the Spectator. . . .John Sheeles, printed for the 
author by Wm. Smith, 8vo. 

1 73 1 Twelve Sonatas in three parts, composed by Michael 
Christian Festing, op. 2, London, printed by William Smith, 
at Corelli's Head, near St. Clement's Church, in the Strand, 
and sold only by the author, 1731, folio. 

1736 Eight Solos for a Violin. .. .op. 4, Michael Christian 
Festing, dated 1736 (same imprint). 

1739 Eight Concertos in seven parts, M. C. Festing, 1739. 

Six Suites of Lessons for the harpsichord and spinet 

Composed by Thomas Chilcot, of Bath, London, printed and 
sold by Wm. Smith, at the Corelli's Head, etc , etc., oblong 
folio. (Henry Carey's name is put as a subscriber.) 

C 1740 The Musick in the Masque of Comus. ..Thomas Augustine 
Arne, printed by William Smith, at the musick shop in 
Middle Row, near Holborn Bars, and sold by the author, 
folio, no date (patent grant to Arne dated 1740). 

A Collection of Tunes, part II, containing anthems and 
other tunes, compiled by C. Ashworth, London, printed and 
sold by J. Buckland, 1762, oblong 4to W. Smith, Sculp., at 
end of book, 

Snagg, Richard. 2 9> Paternoster Row, a bookseller, 

who published the first volume of 

the "New Musical and Universal Magazine." This is a thick 



122 

octavo volume with engraved music and a letterpress supple- 
ment, containing general matter — tales, poetry, etc., and with 
treatises on music running serially. The first part was for 
September, 1774, and the volume seems to end in December, 
1775. J. French published the succeeding volumes. Snagg 
also printed one or more song books without music as "The 
Robin, or Ladies Polite Songster," and among other works a 
small book of anecdotes, entitled " Woman's Wit." 

Snodham, Thomas. Was an early music printer 

who succeeded to the business 
of Thomas Este. It has been assumed, apparently merely on 
the ground that a book has the imprint " Tho. Este, 
alias Snodham," that Este changed his name to Snodham 
in 1609, but I venture to think that Snodham, by this 
imprint, meant merely thus to identify himself with the busi- 
ness he had succeeded to. Moreover Thomas Este was 
printing in 1569, and Snodham's latest date is about 1624, 
almost too lengthy a period to be covered in one working life. 

Snodham's first work is "The Second Set of Madrigales 

by John Wilbye, London, printed by Tho. Este, alias Snod- 
ham, for John Brown, and are to be sold at his shop in 
S. Dunstan's Church Yard, Fleet Street, 1609," 4to. Another 
is: — "Ayres by Alfonso Ferrabosco," 1609. Other works 
printed by Snodham are Michael East's "Third set of Bookes," 
1610; Campian's "Two Bookes of Ayres," t 1610; Byrd's 
"Psalms, Songs, and Sonnets... printed by Thomas Snodham, 
the assigne of W. Barley, 161 1 "; "The XII Wonders of the 
World, set and composed for the Viol de Gamba, the Lute, 
and the Voyce...John Maynard," 1611; "The First set of 
Madrigals... newly composed by Orlando Gibbons," 1612; 
"Third and Fourth Booke of Ayres... Thomas Campian" 
(1612) ; "Second Booke of Ayres. ..Wm. Corkine," 1612; 
"First set of English Madrigals... John Ward," 1613; " Second 
set of Madrigals... Thomas Bateson," 1618; "Fourth set of 
Bookes, wherein are Anthems... Michael East," 1618; "Fift 
set of Bookes, wherein are songs full of spirit and delight... 
Michaell East," 1618; "Ayres that were sung and played at 
Brougham Castle... Composed by Mr. George Mason and Mr. 
John Earsden," 1618; "The First Set, Beeing Songs of divers 

Ayres and Natures Thomas Vautor," 1619 ; "Private 

Musick, or the first Booke of Ayres. ..by M.P., Batchelor of 
Musicke," 1620 (Martin Peerson); "Songs of 3, 4, 5, and 6 
parts, by Thomas Tomkins," 1622; "First Booke of Ayres of 
Four Parts John Attey," 1622; "Sixt set of Bookes, 



123 

wherein are Anthems... Michaell East," 1624; "Second set of 
Madrigals and Pastorals... Francis Pilkington," 1624. Full 
titles of the above will be found in Rimbault's "Bibliotheca 
Madrigaliana," 1847, and most of the books are in the British 
Museum and Bodleian libraries. 

Sprint, John & Benjamin. At the Bell, in Little 

Britain, booksellers, 
whose names appear in conjunction with that of William 
Pearson on some of the later editions of Playford's works, 
as: "Harmonia Sacra, 1703, printed for Henry Playford, at his 
shop within Temple Change... and John Sprint, at the Bell, in 
Little Britain." Playford's ; ' Psalms, 15th edition, sold by 
John and Benjamin Sprint," 1719; "Introduction to the skill 
of Musick," 18th edition, 1724, and 19th edition, 1730. 

Stansby, William. A notable letterpress printer, 

who also printed some musical 
works, which latter include: — "Ayres to sing and play to the 
lute...Wm. Corkine," 1610; " Melismata, Musicall Phansies, 
fitting the Court, Citie, and Countrey Humours," 161 1; 
"Teares, or Lamentations of a sorrowful Soule...set forth by 
Sir William Leighton," 1614; "French Court Ayres, with 
their ditties Englished... Edward Filmer," 1629; " Mottects or 
Grave Chamber Musique...by M. P., Batcheler of Musique 
(Martin Peerson), 1630; "Madrigalls and Ayres of 2, 3, 4, 
and 5 voyces... Walter Porter," 1632; "Seventh Set of Bookes 
...Michaell East," 1638. In ordinary letterpress Stansby 
printed an early edition of "The Seven Champions of Christen- 
dom," 1616, and Selden's "Titles of Honour," 1614. 

Straight & Skillern. Thos. straight and Thos. Skil- 

lern were established in Great 
Russell Street, Covent Garden, before 1768, and they issued a 
set of Country Dances for that year from this address. They 
were at 17, St. Martin's Lane, in a shop previously held by 
James Oswald, before 1771 (probably about 1769 or 1770), 
and from here published sheet music and continued their 
yearly sets of Country Dances. They appear to have taken 
over some of Oswald's plates and stock, and they re-issued his 
"Caledonian Pocket Companion," while, with Wm. Randall's, 
their names are on the imprint of "The Comic Tunes in 
Queen Mab," the re-print from Oswald's old plates. Where the 
full imprint is not given on their sheet music, the publishers 
are indicated by "Str. & Sk." Straight was a music engraver. 



124 

He retired from the firm in 1777 or 1778, leaving Skillern in 
possession of the shop at 17, St. Martin's Lane, and removing 
higher up to No. 138. 

1768 Twenty-four Country Dances for the year 1768 London, 

T. Straight & Skillern, in Great Russell Street, Covent 
Garden, where may be had, just published, 6 easy Sonatas, 
or Duetts for 2 G. Flutes, by Alex Bezozzi. .A Select Collec- 
tion of Catches. .The Farmer's description of London, a 
favourite medley, .oblong 8vo. 

C. 1770 The Caledonian Pocket Companion, .by James Oswald, 
Book III [IV, V, VI, etc], printed for Straight & Skillern, 
St. Martin's Lane, large 8vo. 

1771 A Collection of Favourite Songs sung at Marybone 
Gardens by Miss Harper, composed by Theodor Smith, 
1771, London, printed for Straight & Skillern, in St. Martin's 
Lane, near the Strand, folio. 

The Highland Laddie, as originally composed for and 
sung at Mary Bone Gardens, in June, 1771, and now pub- 
lished by the author at the solicitation of his friends ; set to 
music by P. Hayes, Mus. Doc, printed for W. Matthews, 
in the High Street, Oxford, engraved by T. Straight, No. 17, 
St. Martin's Lane (sheet song). 
Also a great number of Cantatas and airs, with variations, for the 
hirpsichord about this period — as " Roast Beef Cantata," etc. 

C. 1775 Two Hundred and four favourite Country Dances. .Vol. I, 
London, printed for Straight & Skillern, St. Martin's Lane, 
near Charing Cross, where may be had a complete volume 
of Minuets, oblong 8vo. Contains the yearly dances from 
1768 to 1775, with the dates engraved— (re-published by 
Skillern). 

1776 Twenty-four Country Dances for the year 1776. .T. Straight 
& Skillern, in St. Martin's Lane, near the Strand, oblong 
8vo, same plate as dances for 1768 with address altered. 

Straight, Thomas. Was either the above Thomas 

Straight or his son. At the 
dissolution of the partnership of Straight & Skillern he is found 
alone at 138, St. Martin's Lane, where he published sheet- 
music and engraved many works for other music publishers. 
In 1796 he had removed from St. Martin's Lane, and seems to 
have given up publishing, for on Bunting's first Collection of 
Irish Music, issued by Preston in this year, there is stamped, 
"Engraved by Thos. Straight, No. 7, Lambeth Walk, Surrey." 

Te2f2f Thomas. 73' Cheapside. A well-known book- 
seller and literary publisher. He 
issued many small volumes of songs, including (about 1818-20) 
the first and second series of " Tegg's Social Songster. In 
1825 he commenced a series of song books in octavo, which 



125 
had the airs attached printed from type. The first is " The 
Skylark," 1825; followed by "The Thrush," 1830; "The 
Nightingale," and "The Linnet," 1831. The firm afterwards 
(about 1833) became Thomas Tegg & Son, at the same 
address. 

Thompson, Peter, Peter Thompson was the 

j , • o „ founder of the important 

and his Successors. business carried on £ y the 

Thompson family for half a century. They were the last 
survivors of the music trade which once thronged St. Paul's 
Church Yard, and their place of business had very likely been 
one of the shops held by members of the trade a century or 
more previously. 

Thompsons' shop was at the North West corner of St. 
Paul's Church Yard ; it was afterwards numbered 75, and 
I believe was situate near an opening into the West end of 
Paternoster Row. In its earliest days the sign of the house 
was the " Violin and Hautboy," or "The Violin, Hautboy, 
and German Flute," as some imprints give. The sign, how- 
ever, was seldom used after the death of Peter Thompson, and 
the address at first being merely "West end of St. Paul's 
Church Yard " ; was afterwards invaribly given as "75, St. 
Paul's Church Yard." 

Peter Thompson was certainly publishing in 1751, though 
there is rather a puzzling entry in the directory of 1754 — 
"Peter Thompson, chocolate maker, St. Paul's Church Yard." 
This might suggest that he combined the two trades, or it is 
not unlikely that it is a mistake of compiler or printer. 

Absolutely the earliest book with Peter Thompson's 
imprint which I have yet seen to definitely fix a date is his 
yearly set of Twenty-four Country Dances for 1755; in the 
British Museum. As this begins at dance No. 97, page 49, and 
ends with dance No. 120, page 60, it is pretty evident that the 
yearly dances commenced with those for 1751. About this 
time Peter Thompson published octavo instruction books for 
the violin and other instruments, and continued the yearly 
dances to 1757-8 when the seven yearly sets were gathered 
(with some others added) into a volume containing two 
hundred dances. This book, numbered volume 1st, has Peter 
Thompson's imprint. The yearly dances for 1759 and 1760 
have the imprint, Thompson & Son, while those for 1762 have 
an "s" added to Son. In 1764, though another plate is engraved 
for the title page, yet the imprint is still Thompson & Sons. 
The dances for 1764 have now a fresh imprint "Charles & 



126 

Samuel Thompson," and this continues for some years ; it may 
now be assumed that Peter is dead. An imprint, however, on 
an early work in my own library leads me to suppose that 
Peter Thompson must have died about 1758, and that his 
business was then carried on by his eldest son, Charles, and 
his widow, Ann, so that the imprints Thompson & Son and 
Thompson & Sons refer to the widow and her sons. I think 
too that she must have died or retired before 1764. The work 
with the imprint I refer to is " Thirty Favourite Marches, 
which are now in vogue... London, printed for Chs. & Ann 
Thompson, at the Violin and Hautboy, in St. Paul's Church 
Yard," 8vo. The contents and style of this book certainly fix 
it about 1758-59. The Ann Thompson is also most assuredly 
not the person of the same name who afterwards entered the 
firm. 

Charles and Samuel Thompson, the two brothers, when 
they got the business into their own hands made very rapid 
strides, and while previously the publications had been mostly 
confined to small dance collections, tutors, etc., much more 
important works are found bearing their names. They 
acquired some plates or copyrights of John Simpson's and re- 
published Lampugnani's Sonatas, Burk Thumoth's Irish and 
Scotch, and Irish and English collections were also reprinted 
by the Thompson family. 

Between 1776 and 1778 Charles Thompson dies or 
retires from the firm and Samuel alone holds the business, but 
this is only for a very short interval. — Hook's songs for 1778, 
as well as the directory for 1779, gives the firm as Samuel & 
Ann ; this latter, it may be easily imagined, is the widow of 
Charles — she is certainly not the Ann Thompson of the imprint 
circa 1758-9. 

In 1780, Peter, who may be a son of Charles or of Samuel, 
and a grandson of the original founder, is added to the firm, 
which now stands as Samuel, Ann & Peter, and the business 
prospers still more. In 1792 it is Samuel, Ann, Peter, and 
Henry, and in 1795 Peter drops out, leaving Henry in his 
place. In 1796, Samuel has disappeared and the house is 
styled Henry & Ann Thompson. This continues till 1799, 
when Henry alone remains until the year 1802. Shortly after 
this date Purday & Button have sole possession and are pub- 
lishing from the Thompson address in 1805-6. 

The directory and the yearly sets of Country Dances give 
the changes of the Thompson family very fully, and for the 
reader's convenience I will repeat these in tabular form com- 



127 

piled from the above authorities and from other sources equally 
reliable. I do this the more readily as so much misapprehen- 
sion exists regarding the family's business history. One work 
on the violin gives "C. & S. Thomson (sic). 1720-48," and 
"Thomson & Son, S. & P., 1764." I also remember to have 
seen a violin label of Samuel, Ann, and Peter Thomson with 
a M.S. date altered into 1748 ! — it could by no possibility be 
before 1779. I am afraid that foolish and unscruplous dealers 
and owners who have thus tampered with fiddle labels have 
done much to muddle the history of violin making. It is 
fortunate that directories and music books, which contain 
more reliable data, still remain. 

The Thompson Firm. 

Peter Thompson, from before 1751 to 1758 
Charles & Ann ... circa 1758 

Thompson & Son ... ,, 1758-9 to 1 760-1 



1761-2 to 1763-4 

1764 to 1776-8 

1778 

1779-80 to circa 1794 

1792 

1795 to 1796 

1796 to 1797 
1798-9 to 1802-4 



Thompson & Sons... 
Charles & Samuel... 
Samuel & Ann 
Samuel, Ann, & Peter 
Samuel, Ann, Peter, Henry ,, 
Samuel, Ann, & Henry, 
Ann & Henry 
Henry 

As it is impossible to tell the precise month when the 
London directories were compiled, or Thompsons' dances pub- 
lished, some trifling allowance must be made upon this 
account, otherwise the list will, it is believed, be found ap- 
proximately correct. It may be mentioned that the musical 
directory for 1794 gives Samuel & Peter, the omission of Ann 
is probably accidental. The London directories, and all dated 
imprints, confirm the above list. The later imprints after 
1790 do not generally give the names or initials of the family 
but merely " Messrs. Thompson." 

As before mentioned the earlier publications issued by 
Peter Thompson are mostly small dance collections, violin 
tutors, etc. Charles & Samuel, in addition to this class 
of music, published sheet songs and folio collections of 
songs, such as those sung at Vauxhall, etc. Their names 
are also attached to instrumental pieces, and to at 
least one opera, while they re-printed one or more works 
originally published by Oswald. S., A., & P. Thompson 
followed up with similar work, but about the year 1795 much 
of the old prestige and vigour seems to have been lost 



128 

and their publications are comparatively few in number. 
Button & Whittaker, in their day, revived to some degree 
the old character of the house. 

The Thompson family purported to be musical instru- 
ment makers, but though fiddles have their label, I think it 
doubtful whether any came from the house except such as 
were made by working makers for sale in the shop. Robert 
Thompson, who lived near, and was probably a relation, no 
doubt produced more individual work. The following list 
merely indicates the type of musical works the Thompson 
family published at different periods. 

C 1750-5 Compleat Tutor for the German Flute. .. .printed for and 
sold by Peter Thompson, musical instrument maker, at the 
Violin, Hautboy, and German Flute, the West end of St. 
Paul's Church Yard, London, where books of instructions 
for any single instrument may be had ; 8vo. 

C- I 75 0_ 5 Compleat Tutor for the Violin ; 8vo. 

Eight Solos for a Violin and a thorough bass. . . .composed 
by Joseph Gibbs, of Dedham, in Essex. .London, printed for 
the author and sold by Peter Thompson, at the Violin and 
Hautboy, in St. Paul's Church Yard ; folio. 

!755 Twenty four Country Dances for the year 1755, with proper 
tunes. .. .N.B.— The true, genuine dances will be published 
every year in this volume and character, price 6d. . .London, 
printed for Peter Thompson, at the Violin and Hautboy, in 
St. Paul's Church Yard (Dances 97 to 120 ; pages 49 to 60). 

C 1758 Thompson's Compleat Collection of 200 Favourite Country 
Dances, performed at Court, Bath, Tunbridge, and all Public 
Assemblies. .. .vol. 1st [plate of a company of ladies and 
gentlemen dancing] , printed for Peter Thompson, at the 
Violin and Hautboy, in St. Paul's Church Yard ; oblong 8vo. 

[This volume contains the yearly dances from 1751 (o 1757, 
with a few others added. It was reprinted by Charles and 
Samuel, and again much later by S. A. and Peter, this last 
time printed on both sides of the paper, the first and second 
issues being only on one side.] 

Charles and Ann Thompson. 
C. 1759 Thirty Favourite Marches which are now in vogue set for 
the Violin, German Flute, or Hautboy, by the most eminent 
masters, price 6d. . .London, printed for Chs. & Ann Thomp- 
son, at the Violin and Hautboy, in St. Paul's Church Yard, 
where may be had 41 Psalm Tunes, in 3 & 4 parts, & 26 
favourite Anthems. .. .by Abraham Adams. 24 Country 
Dances, yearly, price, 6d. A collection of Minuets, do., 6d. 
30 Favourite Hornpipes. 

Thompson & Son. 
C. 1759 Six Solos and Six Scots Airs, with variations for the Violin 
or Violoncello, with a thorough bass for the Harpsichord .... 
composed by Walter Clagget, op 2. .London, printed for the 



129 

author and sold by him at the Sedan Chair, Great Hart St., 
Covent Garden, and Messrs. Thompson & Son, in St. Paul's 
Church Yard. 

C. 1759 The Compleat Tutor for the Guittar. .. .printed for 
Thompson & Son, at the Violin, Hautboy, and German Flute, 
ye West end of St. Paul's Church Yard ; 8vo. 

A Favourite Lesson for the Harpsichord or Organ .... by 
Frederico Christiano Mohrheim, master of music to the 
Cathedral of Dantzick. .London, printed for Thompson & 
Son ; oblong folio. 

1759 Twenty four Country Dances for the year 1759; Ditto, 
1760. . . .Thompson & Son, at the Violin and Hautboy, in St. 
Paul's Church Yard ; oblong Svo. 

1762-3 Twenty four Country Dances for the year 1762 ; ditto, 
1763. .Thompson and Sons; oblong Svo. 

Charles and Samuel Thompson. 

1764 Twenty four Country Dances for the year 1764 ; ditto, 1770, 
to 1774, 1775- • • .printed for Charles and Samuel Thompson, in 
1775 St. Paul's Church Yard. 

C. 1764 Thompson's Compleat Collection of 200 favourite Country 
Dances, vol. II (the yearly dances from 1758 to 1764). 

C. 1772 Ditto, volume III (the yearly dances from 1765 to 1772). 

A fourth volume of these sets of two hundred dances was added, which 
included the yearly dances from 1773 to 1780. Probably a fifth and sixth 
were also published, but these two latter I have not seen ; they would 
contain the dances down to 1796. 

In addition to the country dances, yearly sets of Twelve Minuets were 
issued, and collected into volumes of one hundred, all in oblong Svo. One 
or two volumes and sets of hornpipes also came forth. 

C. 1765 Thompson's Compleat Collection of 120 Favourite Horn- 
pipes ; oblong 8vo. 

C. 17C5-6 The Compleat Tutor for the Violin. . . .C. & S. Thompson, 
at the West end of St. Paul's Church Yard ; 8vo. 

Six Sonatas for two Violins and a thorough bass. . . .com- 
posed by Sigr. Lampugnani. 

(Many other instrumental works have the imprint of C. & S. 
Thompson.) 

C. 1772-3 The Songs and Masque in the Pantomime of Trick upon 
Trick, as performed at Sadler's, Wells, composed by James 
Hook ; folio. 

1773 A Collection of Songs, sung by Mr. Vernon, Mrs. Weich- 
sell, and Miss Wewitzer, at Vauxhall. . . .composed by James 
Hook, 1773 ; folio. 

T774 Ditto, 1774, and a Second Collection, 1774 ; folio. 

C. 1775 The Duenna or Double Elopement, a comic opera; oblong 
folio, and oblong 4to (by Linley, acted 1775). 

C. 1776 A Collection of Catches and Glees.... by L. Atterbury ; 
oblong folio. 



130 

Samuel & Ann. 

1778 A Second Collection of Songs, sung at Vauxhall. . . .com- 
posed by James Hook, 1778. . . .S. & A. Thompson, 75, St. 
Paul's Church Yard ; folio. 

C. 1773 The Loyalist, wrote by a friend to ihe King and Constitu- 
tion. .London, printed for S. Thompson & Co., 75, St. 
Paul's Church Yard; sheet song, with portrait of George III, 
folio. 

C. 1779 Admiral Keppel Triumphant, half sheet song, relative 
to Keppel 's trial by Court Martial, held January, 1779. 

Samuel, Ann, & Peter. 

C. 1779 The Camp, an Entertainment. .. .composed by Thomas 
Linley (acted at Drury Lane, 1778) ; oblong folio. 

1781 Collection of Songs, sung at Vauxhall Gardens. .. .com- 
posed by James Hook, 1780, S., A. & Peter Thompson ; folio. 

C. 17S1 The Overture, Songs, and Duets, in the Pastoral Opera of 
the Gentle Shepherd (T. Linley's version, acted 1781). 

C. 17C6 Songs, Duets.. of the Historical Romance of Richard 
Cceur de Lion. . . .by Mr. Linley ; oblong folio. 

C. 1789 The Hibernian Muse, a collection of Irish Airs; oblong 
4to. 

C. 1759 The Caledonian Muse, a collection of scarce and favourite 
Scots Tunes ; oblong 4to. 

C. 17S9 Thompson's Pocket Collection of Favourite Marches, 2 
books ; small oblong. 

Thompson's Pocket Companion for the German Flute, at 
least 4 vols. ; small oblong. 

Ditto, for the Violin. 

C. 1790 Apollonian Harmony, a collection of Glees, Catches, 

Madrigals. . . . Six Volumes ; large octavo. 
The yearly dances, and minuets, sheet songs, and a vast quantity of 
other publications. 

Henry Thompson. 

C. 1799 Psalmodia Evangelica, a collection of Psalm and Hymn 
Tunes.... by Thcs. Williams, 3rd edition, vol. II; Henry 
Thompson, 75, St. Paul's Church Yard ; oblong 8vo. 

Many of the imprints after about 1790 merely give "Messrs. 
Thompson," or "Thompsons' Warehouse." 

Thompson, Robert. Was probably brother or other 

relative of Peter Thompson. 
Robert seems to have been more of a musical instrument maker 
than a music publisher. His shop was at the corner of Paul's 
Alley, with St. Paul's Church Yard, with the sign "The Bass 
Violin." A fiddle label of his is said to bear the date 1749, 
with the address Paul's Alley and his sign. The London 



131 

directory makes no mention of him till 1 768, when he is entered 
as " Musical instrument maker, No. 1, Paul's Alley." His 
name continues as thus till 1 771, when he has removed to 8, 
Lombard Street, and this new address remains up to the year 
1 781 or a year or two later. 

I have seen but one musical publication having his 
imprint, a half sheet song, in my own library, and in date 
about 1755; it is entitled "The Fair Thief, set by Mr. 
Worgan, and sung by Mr. Lowe, at Vauxhall ; it begins 
"Before the urchin well could go." 

As Robert Thompson's sign, the Bass Violin, is very 
similar to the younger Daniel Wright's emblem, the Golden 
Bass, and as Wright had his shop in St. Paul's Church Yard 
also, Thompson might perhaps have succeeded to Wright's 
place of business. 

ThorowgOOd, Henry. Flourished about 1760 to 

1765. He had a music 
shop at the sign of the Violin and Guittar, at No. 6, under the 
North Piazza of the Royal Exchange. He made and sold 
fiddles and possibly other instruments. His publications are 
not very numerous and seem to range very close together in 
date (about 1765); they include "Thomas and Sally, opera 
by Dr. Arne " (acted 1760), folio, circa 1765; "The Maid of 
the Mill" (1765), oblong 4to ; "Artaxerxes" (acted 1762), 
oblong 4to ; "Twelve Airs, for one and two Guitars, composed 
by John Parry Harper to their Majesty's," oblong 4to, circa 
1765; "Comus"; "A Collection of Songs... sung at Vauxhall 
...composed by Samuel Jarvis," book 1st, folio; "Three 

favourite Lessons for the Harpsichord by Mr. Burton," 

oblong folio ; "Twelve Scotch and Twelve Irish Airs, with 
variations, set for the German Flute, Violin, or Harpsichord 
by Mr. Burk Thumoth," octavo, re-printed from Simpson's 
original plates, with the second book of the same containing the 
English and Irish airs. Other works advertised on his title 
pages are : — "Galleotti's Sonatas," " Zannetti's Solos," "Stock- 
ing Cantata," " Cymon and Iphigenia," "Spadino's Minuets and 
Lisbon's Minuets," 1 stand 2nd books. His shop was probably 
taken over about or before 1770, by Maurice Whitaker, whose 
address " Under the Piazza, near the North Gate of the Royal 
Exchange," seems sufficiently like that of Thorowgood's to 
be identical. 

Tracy, E. According to "A Catalogue of Books, 

printed and published in London in Easter 

Term, 1699," he published ; — "An Introduction to singing of 



132 

the Psalms, in two parts, Bass and Treble ; with a collection 
of the best tunes now in use, by William Webb, Philo. Mus. 
...printed for E. Tracy, at the Three Bibles, on London 
Bridge." 

Turnbull, "Walter. Succeeded to the business 

founded by George Smart, at 
331, Oxford Street; this was sometime close upon 1805. He 
published much sheet music, including Italian vocal pieces in 
folio and in oblong folio. He issued also a series of country 
dances, one of the yearly sets of twenty-four for the violin is 
for the year 1806. He was at 331, Oxford Street, in 1810. 

TVther, John. His address was "facing New Broad 
Street, Moorfields," a rather out of 
way place of business. He published about 1740-50 a work 
in octavo, "The Fiddle, new Modelled," by Robert Crome,* 
and in 1746 a handsome quarto volume of songs, with engraved 
pictorial headings to each song. This was " Amaryllis, being 
a collection of such songs as are most in vogue, in best 
esteem, and particularly sung at the public theatres and 

gardens London, published according to Act of Parliament 

by John Tyther, facing New Broad Street, Moorfields, and 
M. Cooper, Paternoster Row, 1746," 4to. This work was 
again issued by Tyther with an additional volume, and the two 
volumes were re-issued by J. Lewer, who succeeded Tyther at 
Moorfields. Still another later edition was published by 
Longman & Lukey and possibly afterwards by Longman & 
Broderip. 

Another musical work (not illustrated) is " Six Solos for 
the German Flute, Violin, or Harpsichord ; the first three 
composed by Mr. Burk Thumoth, the three last by Sigr. 
Canaby, London, printed and sold by John Tyther facing New 
Broad Street, Moorfields, of whom may be had the songs and 
duets in Baucis and Philemon, with the overture in score 
by Mr. Prelleur," folio. He also published single songs. 
Some half sheet ones in my own possession have his name 
and address at the foot of each — " The Tipsey Lovers, set by 
Mr. Crome," " In Praise of Wine, to a new favourite gavott," 
"On Greenwich Park, the words by Mr. Young, set to music 
by Mr. Jackson." 

Tyther's publications are not frequently found and they 
must have been few in number. He probably ceased business 
about 1760, and was succeeded at his address by J. Lewer. 
* There is also an edition of this published by David Rutherford, 



m 

Vache, S. A music seller and probably a publisher of 
sheet music in St. Alban's, Street, Pall 
Mall. His name is among other music sellers on a sheet 
song published about 1782 : "A very favourite Song sung by 
Miss Romain, in an entertainment called the Talisman, per- 
formed at the Royal Circus; composed by C. Dibdin, printed 

by John Welcker and sold by J. Bland S. Vache, St. 

Alban's Street, Pall Mall Smart, the corner of Argyle 

Street and Fentum, the corner of Salisbury Street, Strand." 

I have seen no other publication bearing his name. 

Vautrollier, Thomas. A Frenchman _ who came 

either from Paris or Rouen 
about the beginning of Queen Elizabeth's reign. He settled 
in Blackfriars and first commenced printing about 1570. In 
1574 he printed, what is probably the first treatise on music 
in English, " A Briefe Introduction to Musicke," octavo, by 
P. Delamotte. The book is mentioned in several bibliogra- 
phical works, but as yet I have been unable to discover if a 
copy still exists. In 1575 he printed for William Byrd, 
"Cantiones quae ab Argumento Sacrae Vocantur," copies of 
which are in the Music School, Oxford, and in the library of 
Gresham College. In this work Byrd's patent grant is first 
printed. 

Verey, G. Great May's Buildings, St. Martin's Lane. 
He was a music seller and a publisher in a 
small way of business. I have seen nothing more important 
of his than sheet songs, which are not very well engraved. 
He was publishing about the year 1794 and later, and some of 
his songs are issued in conjunction with H. Andrews. About 
1802-3 Verey seems to have given up business and his plates 
appear to have gone to Andrews, who erased the former's name 
and stamped his own in its place, with the address n, 
Kendall Place. 

Vogler, John & Gerard. Music sellers and pub- 
lishers who were prob- 
ably related to Johann Georg Vogler, a German violin maker, 
who flourished at a rather earlier period. John and Gerard 
were established in Glasshouse Street about 1770 and published 
many half- sheet and sheet songs, most of which are merely 
stamped with their initals on the lower corner of the plate. 
G. Vogler was composer of a song which held a popularity 
almost to recent years, " Tell me babbling Echo, or the 
Request." This song in its original issue bears the imprint of 



1:34 
the firm, afterwards it was re-published by Joseph Dale and 
later by G. Walker and others. They published "Six 
Favourite New Minuets, and a new Cotillion for the Harpsi- 
chord, Harp, or Violin, dedicated to the subscribers to 
Almacks, by Francis Werner, London, printed for John and 
Gerard Vogler in Glasshouse Street, near Swallow Street," 
oblong 4to, circa 1770. Other imprints are "Glasshouse St., 
near Burlington Gardens." Robert Wornum appears to have 
succeeded to the Vogler premises. 

\Afalker, George. The founder of an extensive busi- 
ness which probably began about 
1790. His first address was 106, Great Portland Street, and 
this soon became 105 and 106, and another early imprint is 
106, Great Portland Street, and 9, Brook Street. He is distin- 
guished in the directory as a "publisher of music at half- 
price," and may possibly be the first to institute the absurd 
practice of marking musical works at double the price intended 
to be asked. He published a great quantity of sheet music of 
all kinds, ranging from Handel to the popular Vauxhall lyric. 
About 1822 he took other and additional premises at 64, Bur- 
lington Street, and in 1S24 he appears to have entirely 
removed to 17, Soho Square, where, as George Walker & Son, 
the firm existed for some time. 

Besides the popular songs of the day, George Walker 
issued a series of country dances for the pianoforte, in folio. 
This reached to at least 38 numbers, No. 4 being dated 1804, 
No. 16, 1808, and No. 38 published after or about 1814. 
Another series was one of Scotch vocal music, sold also in 
single songs, folio, each book contained three or four songs, 
and there was a separate title to each book — " Walker's collec- 
tion of Popular Scotch Songs for the pianoforte or German 
flute, printed for G. Walker, No. 106, Great Portland Street, 
book 1," folio (water mark on paper 1812). A corresponding 
Avork was a set of English Songs, some of these, like much of 
Walker's music, have the imprint, " printed by the Polyhym- 
nian Company, and sold wholesale by G. Walker, 106, Great 
Portland Street." Most of Walker's music is printed on a 
blue tinged paper then in great use. 

Walsh, John, senr. John Walsh, father and son, 

were the largest and most 
eminent of music publishers during the eighteenth century. 
For seventy years they held a monopolising position and were 
in their century what the Playford family had been in the 
preceding one ; with the distinction that while it might be 



135 

within reasonable possibility to number the publications of the 
Playfords, those of the Walshs' are practically countless, 
though nevertheless a bibliographical list (even if imperfect) 
and a carefully compiled history of the latter's business history 
would be a most desirable work. 

Mr. Husk, in Grove's " Dictionary of Music and 
Musicians," states that the first John Walsh commenced 
business about 1690 at the "Golden Harp and Hoboy," in 
Catherine Street, but that in 1698 the epithet "Golden" 
was dropped. That he commenced stamping pewter plates in 
1710 (this date is Hawkins'), and before his death had resigned 
an appointment of music seller and instrument maker to the 
King, which he had obtained, to his son. 

I have not been able altogether to verify some of these 
statements, though do not doubt that Mr. Husk had some 
authority for making them. Walsh was certainly in busines 
in 1696, and no doubt had been some years prior. With 
regard to the royal appointment I imagine that Walsh, senior, 
did not abandon it to his son or retire from business during his 
life. One contemporary announcement of his death states 
" Music printer to the King." It is of course a matter of little 
importance and not likely to be ever easily settled, for I am 
given to understand that the official books which showed these 
matters are not now in existence. The imprint, " Golden Harp 
and Hoboy," is undoubtedly a very early one, but Dr. Croft's 
Sonatas, 1700, shows it was in use two years after the time 
Mr. Husk gave for its discontinuance ; so also in a copy of 
the opera " Arsinoe," acted in 1705. As in the case of other 
publishers the epithet was probably more a matter of period 
and accident rather than definite date. 

As before stated the very earliest year I can fix for John 
Walsh is 1696, in which year he was publishing and even 
then held his royal appointment. " A Catalogue of Books, 
printed and published in London, Trinity term, 1696, there is 
entered " A Collection of new Songs, set by Mons. Nicola 

Matteri ; made purposely for the use of his scholars fairly 

engraven on Copper Plates : the first book ; printed for J. Walsh, 
musical instrument maker in ordinary to his Majesty, at the 
Harp and Hoboy, in Catherine Street, in the Strand, and Mr. 
Hare's, in Freeman's Yard, in Cornhill." This work is in 
folio, and a copy of the first and second book was sold, bound 
up with others, in Dr. Rimbault's sale 1877. Another 
seventeenth century work in the library of Mr. Taphouse 
shows a variation in spelling the name which is printed as 



136 

"Welch." The title and imprint is: — "Single Songs and 
Dialogues in the Musical Play of Mars and Venus, performed 
with the Anatomist or Sham Doctor ; set to music by Mr. 
Finger and Mr. John Eccles : London, printed by J. Heptin- 
stall ; for the authors, and sold by John Hare, musical instru- 
ment seller, at the Golden Violin, in St. Paul's Church Yard, 
and at his shop in Freeman's Yard, in Cornhill, and by John 
Welch, musical instrument maker in ordinary to his Majesty, 
at the Golden Harp and Hautboy, in Catherine Street, against 
Somerset House Water Gate, in the Strand, 1697," folio. 
Still another publication belonging to this early period is : — 
" Six Sonatas or Solos, three for a Violin, and three for the 
Flute, with a thorough bass for ye Harpsichord, Theorboe, or 
Bass Viol : Composed by Mr. William Crofts, and an Italian 
Mr. : London, printed for and sold by John Walsh, musical 
instrument maker in ordinary to his Majesty at the Golden 
Harp and Hautboy in Katherine Street, near Somerset House, 
in ye Strand, and John Hare, musical instrument maker, at ye 
Golden Viol, in St. Paul's Church Yard, and at his shop in 
Freeman's Court, Cornhill, near ye Royall Exchange, 1700; 
price two shillings, where is sold ye weekly song, published 
every Thursday," folio. 

It would not require a very great stretch of imagination to 
suppose that John Walsh (or W'elch) was an Irishman, or at 
any rate of Irish extraction. From his royal appointment it is 
pretty certain, as things went, that he would be a Protestant, 
and had probably found favour with King W 7 illiam himself or 
with court officials from making or supplying military musical 
instruments to the army. This of course is pure supposition. 
His appointment as royal music seller seems to have come 
later, and both were renewed through the reigns of Queen 
Anne, George I and George II, or as much of the latter as 
Walsh lived to enjoy. As to its continuance to his son I am 
doubtful. 

After 1700 Walsh's business rapidly increased, John 
Playford was dead, and Henry Playford did not long survive 
his father, so that Walsh had few rivals of importance. The 
chief of these were J. Cullen, John Young, Richard Meares, 
and Daniel Wright; afterwards Cluer, Cooke, and others came 
into the field. With Hare he had combined, and W'alsh's 
position to the westward and his royal patronage would of 
course be helpful towards building up the immense business 
he did. His connection with John Hare dates from his first 
commencement in the trade and lasted through the life-times 



137 
of Hare and his son — over thirty years — Joseph Hare dying in 
1733, the father, John Hare, having died in 1725. In this 
business association there are indications of breaks, for many 
of the earlier imprints show that Hare's name has been 
originally engraved on the plate, but afterwards removed by 
the scraper. 

Besides Hare another music seller joined with Walsh. 
This was P. Randall, who had a shop in Paul's Grave Court, 
without Temple Bar, at the sign of the Violin and Lute. The 
date for this is 1707-8, but before 171 1 P. Randall seems to 
have abandoned his own shop and entered into some kind of 
partnership with Walsh, for the imprints give the Catherine 
Street address for both names. If we might assume that 
P. Randall had married into the Walsh family — say with 
Walsh's daughter — it might, in some degree, account for his 
presence on the Catherine Street imprint, and also for the cir- 
cumstance that a William Randall (possibly his son) was, 
on the decease of John Walsh, junior, in possession of the 
business. This is of course only guess work, and no doubt an 
examination of the registers of some of the neighbouring 
churches might reveal more particulars. 

Walsh certainly did not lack energy for before 1710 his 
published works, that are known to collectors (or any rate to 
the present writer) which must bear a very small proportion to 
all those issued, are exceedingly numerous and embrace works 
of all characters of music, both English and foreign. It is 
very likely that he had better facilities for obtaining music 
from Holland, Italy, or other places abroad than the other 
music sellers, and these works he must have re-engraved for 
the English market to his own great profit. Even before 
Handel came to England the Italian opera and those on the 
Italian model were fashionable. In 1705 operas were per- 
formed at Drury Lane, among others " Camilla " — '• Pyrrhus 
and Demetrius," "Clotilda," " Almahide," and " Hydaspes" 
followed at the same theatre or at the Haymarket. Walsh 
quickly published folio editions of these and sold re-prints from 
each page as half sheet songs. Handel, when he arrived in 
London towards the end of 1710, composed music for a new 
opera which had been written for him by Aaron Hill. This was 
" Rinaldo," and it was first acted in February, 1711. It was 
at once a great success, and Walsh published copies of it as he 
had done of the other operas. Hawkins states that by its 
sale Walsh cleared ^1,500, possibly a rather exaggerated 
statement. It is also said that upon this occasion Handel 



138 
wrote to the publisher to this effect : " My dear Sir, as it is 
only right we should be upon an equal footing, you shall com- 
pose the next opera and / will sell it! " Whatever Walsh got 
from " Rinaldo," this being Handel's first English publication 
it is unlikely that the composer shared greatly in the profits of 
sale. Walsh all along is said to have treated Handel very 
badly, but it must be remembered that the chief, and strongest 
evidence against the publisher, comes from Sir John Hawkins, 
who paints both Walsh and his son in the blackest of colours. 
But Hawkins himself, as pictured by his contemporaries, seems 
to have been a rather pompous and prejudiced man, and how 
far these qualities have influenced his judgment in this matter 
will probably never be known. 

The following extract from his " History of Music" gives 
his views on John Walsh. After speaking of Dutch monoply 
he says : — " The difficulty of getting music from abroad and 
the high duty on the importation of it were motives to an 
attempt of a somewhat similar kind in England. Two persons, 
namely John Walsh and John Hare, engaged together, about 
the year 1710, to print music from stamped pewter plates. 
The one had a shop in Catherine Street in the Strand, and the 
other kept a shop at the sign of the Viol, in St. Paul's Church 
Yard, and another in Freeman's Yard or Court, in Cornhill. 
They imported from time to time music from Holland and 
reprinting it here, circulated it throughout the kingdom to their 
very great emolument. They were both very illiterate men, 
neither of them was able to form a titlepage according to the 
rules of grammar and they seemed both to be too penurious to 
employ others for the purpose. Their publications were in 
numberless instances a disgrace to the science and its pro- 
fessors, but they got money and no one complained. There 
lived about this time one Richard Mears, a maker of musical 
instruments, an ingenious but whimsical man ; he had been 
bred up under his father to that business and seeing the 
slovenly manner in which music was published by Walsh and 
Hare and being desirous to participate in so gainful a trade, he 
became their rival and proposed to himself and the public to 
print in a fairer character than pewter would admit of and to 
sell his books at a price little above what they were sold for 
by the others. In prosecution of this design he procured of 
Mattheson, of Hamburgh, who had married an English 
woman, and was besides secretary to the British Resident in 
that city, the M.S. of two collections of lessons composed by 
him. These he caused to be engraven on copper in a hand- 
some character and printed in a thin folio volume. Some 



139 

years after, Mr. Handel having composed for the practice of 
Princess Anne sundry suits of lessons for the harpsichord 
made a collection of them and gave it to Mears to print, but 
properly speaking it was published by the author's amanuensis 
Christopher Smith, who then lived at the sign of the Hand 
and Music-book in Coventry Street, the upper end of the Hay- 
market. Mears also printed Mr. Handel's opera " Radamistus '' 
and " Coriolanus," composed by Attilio. The next under- 
taking of Mears was an edition of the works of Corelli ; for the 
four operas of Sonatas he had the assistance of a subscription, 
the work to be completed in an elegant manner, but Walsh 
and Hare damped the sale of it by lowering the price of an 
edition published by them some years before. Nevertheless 
Mears continued to go on. He printed his opera quinto of 
"Corelli" in the same character and undertook to print his 
Concertos, but in this work he failed as the first and second 
parts were engraven and the others stamped, and that in a 
worse character than had been made use of by Walsh and his 
colleague. After a variety of projects Mears found himself 
unable to stand his ground, he quitted his shop in St. Paul's 
Church Yard, and some years after set up in Birchen Lane, he 
continued there about two years and then removed to London 
House Yard in St. Paul's Church Yard where he died about 
1743, leaving a son of Walsh in possession of almost the whole 
trade in the kingdom." — Hawkins' " History of Music," p. 801, 
Novello's edition. 

I have given this lengthy quotation in full as it contains 
some particulars of Richard Meares not given under his head- 
ing in the present volume. Hawkins certainly shows a rather 
virulent prejudice in several particulars and his date for the 
conjunction of Walsh and Hare — (1710) — is wrong by at 
least fourteen years. 

Walsh's music is not more slovenly than his contem- 
poraries and as far as execution goes, as we at the present day 
turn over any clean crisp copy of a Walsh publication (nearly 
200 years old) and compare it with a used piece of music of 
to-day, we find that for clearness of reading the old stands 
equally with the new, and as for permancy the new is nowhere. 
There is surely nothing so deplorable a sight connected with 
music as a bundle (always a ragged bundle) of second-hand 
modern sheet music printed on the blotting paper-like material 
which for some reason is always used for music. Another 
reference to Walsh from the same source puts him in a still 
more unsatisfactory light. Speaking of Geminiani : — " The 



140 

M.S. of his opera Seconda had been surreptitiously obtained by 
Walsh, who was about to print it, but thinking it would be better 
for the corrections of the author, he gave him the alternative of 
correcting it or submitting it to appear in the world with such 
faults as would have reflected indelible disgrace on the author. 
An offer of this kind was not less than an insult, and as such 
Geminiani received it. He therefore not only rejected it with 
scorn, but instituted a process in Chancery for an injunction 
against the sale of the work, but Walsh compounded the matter, 
and the work was published under the inspection of the author. 
The opera Terza he parted with for a sum of money to Walsh, 
who printed it and in an advertisment has given the lovers of 
music to understand that he came honestly by the copy. 

An extract from " The Life of Handel," by Victor 
Schcelcher, 1857, p. 91, is, I believe, the only other personal 
record of Walsh. The writer of the " Life " chanced to meet 
Mr. John Caulfield, then 83 years of age, whose father had 
been apprenticed to Walsh (whether to the senior or junior is 
not stated). Caulfield had heard from his father that " Walsh 
who was extremely rich, very parsimonious, and so suspicious 
that he would sometimes leave pieces of gold upon the desk in 
order to test the honesty of his clerks and workmen, gave 
twenty guineas to Handel for each oratorio he printed." Caul- 
field also remembers his father to have said that after the per- 
formance of the " Messiah," W T alsh demanded the M.S., 
sending the usual twenty guineas, but that the composer -would 
not accept it, but would rather have it unpublished than receive 
so smail a remuneration. For this reason it is stated that the 
" Messiah " remained unpublished in its entirety until Randall 
& Abell's time, who issued it about 1768. Whatever bad 
terms Walsh offered, the bulk of Handel's work w T as first pub- 
lished by him, though in two or three cases the composer 
either published his works himself or let Meares and Cluer do 
this. At a later date Walsh and his son seemed to have the 
entire monopoly. 

During a certain period, the commencement of which I 
have not been able to definitely fix, Walsh, senior, affixed 
numbers to his publications; these appear to be consecutive 
and indicate a date of publication. I have notes of works 
bearing numbers between 58 and 683,* and ranging in date 
from probably about 1725 to 1736-7, for after the senior 
Walsh's death the son does not appear to have long continued 
the numeration ; it is also pretty certain that the elder pub- 
lisher did not by any means number all his publications during 

* Mr. W. Barclay Squire kindly forwards me a list of sixty or seventy 
of these numbered publications. 



141 
his period. According to Dr. Burney it was John Walsh who 
first found out that dated music was bad from a commercial 
point of view — that old music was as unsaleable as old 
almanacks, and that " women and music should never be 
dated." This dictum has caused more bewilderment in 
musical matters than can be well reckoned up. We can only 
be thankful that the Playford family honestly and fairly gave 
the year of publication on their works. But at the present 
day, though it requires some degree of consideration, it is not 
altogether impossible to arrive at a tolerably satisfactory date 
for a piece of Walsh's music. If numbered, the number itself 
will show that it may be generally considered as earlier than 
1736-8, and as much before as the number itself might 
indicate. Further, the mention of the royal appointment of 
music seller, &c, to his or her majesty pretty well proves that 
a piece with this imprint has been issued during the life of the 
elder Walsh. I venture to think that this royal patronage 
was never extended to the son, for with one exception, which 
might be accounted for by the use of an old plate, 1 have 
never seen any work with this following the name that could 
be satisactorily referred to the son. Another particular which 
may be worth while noting, as tending to fix a date, is the 
different spellings of the name of the street. In the very 
earliest imprints it is spelled as in the modern way, 
" Catherine," varied with " Katherine," but while these two 
modes of spelling were used more or less indifferently at the 
same period, I cannot recall any imprint where the K is used 
later than 1718-20, though it was very generally used by 
Walsh about 1705 to 171 5. At a certain later date, during 
the son's time, and from about 1745 to 1760, " Catharine " is 
spelled with a centre " a " instead of an " e." 

The premises in Catherine Street were not numbered 
during their occupation by the Walsh family, but as shown by 
several of Randall's imprints they were afterwards numbered 
13 in the street, and probably this number would hold good to- 
day for their site. It has been stated that the "Echo" office, 
which is No. 22, is Walsh's old shop, but this opinion I do 
not share. No definite proof is offered except the fact that the 
frontage of the building shows certain musical emblems which 
a vivid imagination has turned into a harp and a hautboy. I 
think an impartial examination will show that these ornaments 
are of a more recent date than Walsh's time. They consist 
of a bas-relief, formed either of plaster or terra cotta, repeated 
in duplicate over two windows. Their design is plainly a con- 



142 
ventiorial lyre backed by Apollo's rays, and with a wreath or 
foliage of bay at the foot of the lyre. The two lower windows 
are ornamented with trophies of helmets, flags, etc. The 
whole frontage is Victorian stucco, and it is acknowledged that 
the building was first a dancing academy, and about 1842 and 
later a theatre. There is every reason to suppose that the 
designs are of this period, and would be just the ones considered 
appropriate for such an edifice. 

By whatever means the elder Walsh acquired it, he died 
leaving a fortune. As recorded in the "Gentleman's Magazine," 
his death took place on March 13th, 1736, worth (as the same 
authority tells) £"30,000. The business was, of course, left to 
his son bearing the same Christian name. John Walsh, 
senior, is said to have been the first to stamp pewter plates for 
music instead of using engraving, the date for this is fixed at 
1 710, but the statement (which appears to have originally 
emanated from Hawkins) is too indefinite to altogether accept 
without some examination. 

As it is manifestly impossible to give, within the limits of 
the present volume, a satisfactory bibliographical list, the 
early or more curious of the father's works are here recorded, 
with some few notes as to his general pieces. 

In the early time many of his title pages are elaborately 
engraved, as " The Monthly Mask of Vocal Music," etc., others 
also have title-pages so arranged as to serve for many works as 
the centre is left blank and a separate plate used for letter- 
ing. There are at least four which were thus made available, 
three being folio and the other in oblong 4to. One of the 
most beautiful of the Walsh title pages I have seen is that to 
Spenser's " Amoretti," by Dr. Greene, a copy being in my 
own library. At a later date both father and son contented 
themselves with plain boldly lettered titles, strong and deeply 
engraved. With the exception of probably less than half-a- 
dozen smaller works, the Walsh publications are from etched, 
engraved, or stamped plates. I think that much of the early 
music work of all publishers was produced by etching with 
acid, a general touching up with the graver following. It would 
be by far the easiest method, and I think there is every indic- 
ation of it. 

As before mentioned Walsh, senior, published most of 
Handel's music composed before 1736, and his son continued with 
the rest as it was written. The elder also issued many of the 
Italian operas before Handel's arrival in England. He pub- 
lished also great quantities of Sonatas, Concertos, etc., by all 
the leading musicians, and hundreds of single half-sheet songs 



143 

He early commenced to issue yearly sets of twenty four country 
dances, and these also collected into larger volumes. The 
dances were issued in regular order right down through 
Randall's time, all printed in oblong 8vo. The collected 
volumes, which contained a re-issue of the yearly sets, were at 
first named " The New Country Dancing Master," and after- 
wards " The Compleat Country Dancing Master." Two 
books bearing this latter title were printed from type in 1718 
and 1 71 9, and issued in the precise style of the later copies of 
Playford's " Dancing Master " ; the contents in fact were 
almost identical and no doubt intended to intercept the sale of 
the original, Walsh more than once, in his early time, 
copied Playford's books so far as title was concerned more or 
less closely, as : — " The Division Violin," and " The Lady's 
Entertainment or Banquet of Music. Yearly minuets were 
also issued serially and sets of " Caledonian Country Dances," 
in oblong i6mo. 

1696 A Collection of new Son^s, set by Mons. Nicola Matteis, 
made purposely for the use of his scholars. .Fairly engraven 
on copper plates, printed for J. Walsh, musical instrument 
maker in ordinary to his majesty at the Harp and Hoboy, in 
Catherine Street, in the Strand, and Mr. Hare, in Freeman's 
Yard, in Cornhill, 1696, 1st and 2nd books, folio. 
A copy sold at Rimbault's sale. 
1700 Six Sonatas or Solos. .. .Composed by Mr. Wm. Crofts 

and an Italian Mr London, printed for and sold by 

John Walsh, musical instrument maker in ordinary to his 
majesty, at the Golden Harp and Hautboy, in Katherine 
Street, near Somerset House, in ye Strand, and John Hare, 
musical instrument maker, at ye Golden Viol, in St. Paul's 
Church Yard, and at his shop in Freeman's Court, Cornhill, 
near ye Royall Exchange, 1700, folio. 
C. 1700 Bononcim's Ayres in three parts, as Almands, Corrants, 
Preludes, Gavotts, Sarabands, and Jiggs, with a thorough 
bass for the Harpsicord. ... London, printed and sold by 
I. Walsh, musical instrument maker in ordinary to his 
majesty, at the Golden Harp and Hoboy in Catherine Street, 
near Somerset House, in ye Stand, and I. Hare. .. .at the 
Golden Viol, in St. Paul's Church Yard, and at. .Freeman's 
Yard, oblong folio. (Taphouse.) 
C. 1705 Select Preludes and Volientarys for the violin, being made 
and composed for the improvement of the hand, with variety 

of compositions by all masters for that instrument 

printed tor I. Walsh, servt to her Ma'tie, at ye Harp and 
Hoboy, in Katherine Street, near Somerset House.... and 
I. Hare, at ye Golden Viol, in St. Paul's Church Yard, or at 
his shop in Freeman's Yard, oblong 4to. (Glen). 

C. 1705 The first part of the Division Violin, containing a collec- 
tion of divisions upon several excellent grounds and chacons, 
by ths most eminent masters .. (same imprint), oblong 4to. 
(Glen). 



144 

C. 1705 Songs in the opera called Arsinoe, London, printed for 
J. Walsh, servant to her Majesty, at the Golden Harp and 
Hoboy, in Katherine Street, near Somerset House, in the 
Strand. 

1707 The Union, Mr. Isack's new dance, performed at Court on 
her majesty's birthday, 1707. .. .London, printed for J. 
Walsh, at ye Harp (sit), in Catherine Street, and J. Hare, at 
ye Viol and Flute, in Cornhill, and P. Randall, at ye Violin 
and Lute, without Temple Barr, in ye Strand, oblong 8vo. 
(Taphouse.) 

1708 Lyra Davidica or a collection of Divine Songs and Hymns, 
partly new composed and partly translated from the High 
German. . . .engraved on copper plates. .London, J. Walsh, 
servant to her majesty, at the Harp and Hoboy. . . . J. Hare 
. . . .Golden Viol and Flute, in Cornhill. . . .and P. Randall, 
at the Violin and Lute, by Paul's Grave Court, 1708, 
small 8vo. 

C. 1709-10 The Bottle Companions or Bacchanalian Club, being a 
choice selection of merry making songs. .. .London, printed 
for J. Walsh, and P. Randall, at the Harp and Hoboy, in 
Katherine Street, by Somerset House, in the Strand, and at 
the Violin and Flute, by Paul's Grave Head Court, without 
Temple Bar, and J. Hare, at the Golden Viol and Flute, in 
Cornhill. 

1 70S Twenty-four new Country Dances for the year 1708, with 
proper new figures or directions to each dance, the whole 
fairly engraven and carefully corrected. Note. — The New 
Country dancing Master is published containing ye Country 
Dances for three years past ; price is. 6d. (woodcut frontis- 
piece). Oblong 8vo. (Taphouse.) 

171 1 to Twenty-four New Country Dances for the year 171 1.... 
1718 Note. — The 1st and 2nd volumes of ye New Country Dancing 
Master is re-printed, oblong Svo. Ditto for 1713 ; ditto 
1714 ; ditto 1716 ; ditto 1718. 

These five last named are in the British Museum. On the volume for 
1718 is advertised "Note, there is lately published a new edition of the 
great dance book containing 364 Country Dances in a new character and 
more correct than the former edition." I have not seen any copies of 
Walsh's yearly dances between those for 1718 and for 1742, in which latter 
the character of the dance book has varied. I have, however, in my own 
library a bound collection of 12 yearly dances, evidently issued by Walsh 
which must be those dating from about 1728, titlepages are however 
absent. 

1718 The Compleat Country Dancing Master, containing great 
variety of dances, both old and new. .. .London, printed by 
H. Meere for I. Walsh. . . .and J. Hare. . 1718, oblong 8vo. 

This is the volume advertised above. 

1719 Ditto 2nd volume, dated 1719. 

(These two are type printed and are practically copies from Pearson 
and Young's "Dancing Master." 

1731 The Compleat Country Dancing Master, containing a great 
variety of dances, both old and new. .1731. 



145 

(This is a different work ; it is engraved. Other volumes of a book 
with this title are the yearly dances bound together. In 1742 and 1745 it 
was advertised as being in 3 volumes, and again in 1748 as "containing 
1,000 old and new Country Dances in 3 volumes." In 1750 as being in 4 
volumes ; in 1765 as in 6 volumes, and on Randall's dances in 1772 as 
being in 7 volumes). 

C. 1730 Caledonian Country Dances, being a collection of all the 
celebrated Scotch Country Dances now in vogue, oblong 
i6mo. 

(These were in a different shape and style to the others. In 1742 
there were 3 volumes or books ; in 1748, 4 volumes ; in 1760, 8 volumes; 
in 1765, g volumes, and in Randall's dances they are advertised as being 
in 10 books. Four of the earlier sets are in my own library). 

Besides these and other volumes of dance music Walsh also published 
yearly sets of minuets, afterwards gathered into volumes. 

1716 The Merry Musician, or a Cure for the Spleen, being a 
collection of the most diverting songs and pleasant ballads ; 
Part I, small 8vo, 1716. 

(The first volume is type printed by H. Meere ; three other volumes 
followed: — the second, circa 1728; third, circa 1730; fourth, circa 1735; 
all these latter ones are engraved. 

C. 1730 The Catch Club or Merry Companions, being a choice 
collection of the most diverting catches for three or four 
voices, composed by the late Mr. Henrj' Purcell, Dr. Blow, 
&c, 1st part. .London, I. Walsh, servant to his majesty. . . . 
(No. 297), oblong4to, and 2nd part (No. 298) ; (An oblong 
folio edition, later by John Walsh, Junr). 

1734 The British Musical Miscellany, or the Delightful Grove, 
being a collection of sixteen English and Scotch Songs.... 
published for March, 1734 (No. 511) 410. 

(This was a monthly publication, afterwards collected, with a fresh 
title page, into six volumes.) 

Limited space forbids the extension of this list, which 
might have included a great number of scarce and curious 
publications as well as those that are better known. 

Walsh, John, junr. On the death of his father on 
J March 13th, 1736, John 

Walsh, junr., succeeded to the business, which, well established 
then, was pushed forward with even greater vigour than in his 
father's day. He continued business relations with Handel and 
published all the compositions of this master that were offered 
to the public. As before stated, the " Messiah " was an 
exception and it did not see the light until Randall & Abell 
issued it. The son does not appear to have held the appoint- 
ments of music and instrument seller to the sovereign, which 
his father enjoyed ; at any rate if he did he does not seem to 
have proclaimed this. There is scarcely an imprint of the 



146 
elder Walsh's that does not mention the royal patronage, 
while among the vast mass of Walsh publications which I 
examined, I have never seen it used on any but one that can 
be considered to be of the son's issue. This solitary exception 
is : — " Twelve Sonatas for two Violins... by Wm. Boyce, com- 
poser to his majesty, printed for the author and sold by 
I. Walsh, musick printer and instrument maker to his majesty 
...1747" (Taphouse). It is possible that this imprint may be 
due to the use of an old plate re-engraved, or that the original 
publication was earlier and re-issued from the older plates, 
with the addition of a date in 1747. Whatever be the cause, 
the fact remains as above stated. 

Walsh, junior, published much the same character of 
music as his father, and this was comprehensive enough to 
include all kinds. He issued sets of Vauxhall and other songs 
by Dr. Arne, and Boyce, under such titles as " Lyra Britan- 
nica," "The Agreeable Musical Choice," &c, in several 
folio books. He continued the issue of the yearly 
sets and the larger collections of Country Dances and 
minuets. He published also the operas " Thomas and Sally," 
" Love in a Village," " Midas," with others in oblong folio. 
A smaller edition of some of the earlier ballad operas in octavo 
include, " The Devil to Pay," "The Jovial Crew," etc. All 
these were in addition to a vast quantity of instrumental music 
and other miscellaneous pieces. 

He died on January 15th, 1766, and was buried, as his 
father doubtless was, at St. Mary's, in the Strand, on the 21st 
as recorded in the following : — 

" 1766, January 15th, Mr John Walsh, in Catherine Street, in the 
Strand, the most eminent music seller in England. — (Universal Museum, 
1766). 

January 15th, died Mr. John Walsh, the most eminent music seller in 
the Kingdom. .. .January 21st, Mr. John Walsh was interred with great 
funeral pomp at St. Mary's in the Strand. It is said he died worth 
^"40,000. — (Public Advertiser, 1766). 

On the death of Walsh the shop seems to have been 
immediately taken over by William Randall and a person 
named Abell. Whether Randall was a son of the P. Randall 
early associated with the elder Walsh, I am unable to say, but 
I would certainly hazard the supposition that there might be 
some connection by marriage between the Randall and the 
Walsh families, which would account for so valuable a busi- 
ness being handed over to him. So with regard to Abell, 
which might be the married name of a daughter of the elder 
Walsh's. Some search in the parish registers of St. Mary's 
night reveal this more fully. 



1-17 
Randall & Abell no doubt contented themselves with 
merely selling the old stock or re-printing, for I have only 
seen two imprints of theirs. Afterwards Randall had posses- 
sion of the premises alone and at his death his widow held 
them till they were taken over by Wright & Wilkinson. With 
this latter firm ended the history of this famous house. 

^Afa^d, George. Published "A Collection of Favourite 
Irish Airs, arranged for the harp or 
pianoforte, by S. Holden... London, published by George 
Ward, go, Lemon Street, Goodman's Fields, and may be had 
of the principal music sellers in England and Ireland" ; folio, 
circa 1818 (Glen). 

Warrell VV\ A music seller and publisher who gave 
his address as " Surrey side of West- 
minster Bridge," or " Near Astley's Theatre, Westminster 
Bridge." He flourished about 1780 and issued sheet music, 
including songs from "The Widow of Delphi" (1780), and 
Tom Paine's " Death of General Wolfe." He also published 
several small oblong volumes as "Warrell's Pocket Companion 
for the German Flute," circa 1785, and another similar one for 
the harpsichord. On certain of his publications the firm is 
given as Warrell & Co. They printed on the back of sheet 
music a lengthy advertisement drawing attention to their 
" improved musical instruments, wholesale and retail, and for 
exportation, at their manufactories or warehouse." It is, how- 
ever, doubtful if they were the extensive manufacturers of 
pianofortes, etc., which they here claim. The Musical Directory, 
1794, gives: "Warrell, organ builders, 17, Bridge Street, 
Lambeth." 

^fatkins, Zach. Was for a short time only, about 

1665, in partnership with the elder 

John Playford, "at their shop in the Temple." (See page 94.) 

^Afatlen, John. A composer and music seller who, 
having become bankrupt in Edin- 
burgh near the close of the century, removed to London, 
where he taught " singing and the pianoforte in the tasteful 
method." Most of his title pages also inform us that he was 
" late of the Royal Navy." It is possible that his first London 
address (about 1803-5) was 3» Upper James' Street, Golden 
Square, as this is given on a sheet song printed for him at 
Edinburgh and sold by the author at the address named. In 
1807 he had removed and was again in business, his new 
address being 5, Leicester Street, Leicester Square. He pub- 



148 

lished sheet songs, etc., and claimed to be "patentee of the 
oblique pianoforte, so much admired for its full and melodious 
tone, the only patent piano now extant" ; he also advertised 
that he was "pianoforte maker to the Royal Families of 
France and the Netherlands." He probably did not remain 
long in this London business. He seems to have had, at a 
prior date, some connection with the firm Cobb & Watlen. 
(See also his name in the Edinburgh section). 

WattS, John. A bookseller and printer in Wild's 
Court, Lincoln's Inn Fields. He was 
established here before 1726 alone, and in conjunction with 
Jacob Tonson published poems, plays and miscellaneous works. 
The introduction of the English opera at Lincoln's Inn 
Theatre brought Watts a brisk trade in the publication of the 
ballad operas performed there. His first musical work 
appears to have been an octavo edition of the " Beggars' 
Opera," which has the "music engraved on copper plates," 
and is dated 1728. There is also a quarto edition much better 
printed and engraved; one marked as the third edition is dated 
1729.- After the first publication of the "Beggars' Opera," 
he followed up with "The Quaker's Opera," 1728, and about 
thirty others as they were acted ; all in octavo. The operas 
have the musical airs inserted in the text over the new song, 
while the old name of the ballad tune is retained. The music 
is cut in wood and as some of the favourite airs ran through 
many of the operas, the same block served over and over 
again. The old airs thus preserved in Watts' editions of ballad 
operas reach to a great number, and have much interest for 
musical antiquaries. His editions of the opera range in date 
between 1728 and 1733, after which latter date the ballad 
opera began to decline. I have met with but one solitary 
exception, " An Hospital for Fools," printed by Watts in 
1739. After Watts' death some of the most favourite ones 
were reprinted in the same style, with the music apparently 
from the same wood blocks, by J. & R. Tonson ; these are 
octavo and bear (in the copies I have seen) the date 1765. 

The only other musical work published by Watts that I 
know is his well known " Musical Miscellany in six volumes." 
The first two of these were issued in 1729; the third and 
fourth are dated 1730, and the fifth and sixth 1731. All the 
music is cut in wood and unlike that in the ballad operas the 
airs have basses. In 1750, John Watts was probably dead, 
for in that year a bookseller named Wren must have bought 
the remaining stock of the " Musical Miscellany," which he 



149 

re-issued with a fresh name and title page to each volume. 
Volume 3 is " The Harp or Musical Miscellany, printed 
for and sold by J. Wren, at the Bible and Crown, near 
Great Turnstile, Holborn, 1750." "The Spinnet " is Watts' 
4th, and " The Violin " the 5th. Benjamin Franklin, when 
he first came to London in 1726, worked for a short time as 
journeyman in Watts' office. 

The following is a list of all John Watts' musical works I 
have found, which, with the exception of the " Musical 
Miscellany," are all ballad operas or plays, mostly with the 
music cut in wood. 

1728 The Beggars' Opera, music engraved, also several editions 
in quarto. 

1728 The Quaker's Opera. 

1729 The Provok'd Husband (with 3 music blocks) ; Momus 
Turned Fabulist ; Village Opera ; Love in a Riddle ; 
Cobler's Opera; Damon and Phillida; Author's Farce, 

1730 Female Parson, or Beau in the Sudds ; The Lover's 
Opera, 3rd edition ; The Fashionable Lady ; Patie and 
Peggy ; The Chamber Maid ; Robin Hood ; Flora. 

1 73 1 Silvia, or the Country Burial ; The Jovial Crew; The 
Highland Fair ; The Generous Freemason ; The Grub 
Street Opera. 

1732 Amelia; The Devil to Pay; The Lottery; The Mock 
Doctor ; Acis and Galatea. 

1739 An Hospital for Fools. 

1729-31 The Musical Miscellany, being a collection of songs, set 
to the Violin and Flute by the most eminent masters, volume 
the first .... Printed by and for John Watts, at the Printing 
Office in Wild's Court, near Lincoln's Inn Fields, 1729, 8vo. ; 
2nd, 1729; 3rd and 4th, 1730; 5th and 6th, 1731. The 
later volumes after the second have basses set to the airs and 
a slightly varied title. 

Waylett, Henry. At the " Black Lyon," in Exeter 
Change ; was probably established 
about 1745. He published half-sheet songs, flute and violin 
tutors, country dances, etc. He was also a musical instru- 
ment maker, or at any rate his name occurs on violin labels. 
He was in business in 1749 and 1751, and was succeeded by 
Richard Bride, who published " Lovely Nancy, with varia- 
tions for the harpsichord, by Mr. Geo. Kirshaw, London, 
printed for Richard Bride, at the Black Lyon, in Exeter 
Change," circa 1766-70. 

C. 1745-6 A New Song in honour of the King of Prussia, set to 
music by Mr. Bryan .... Printed for Henry Waylett, at the 
Black Lyon, in Exeter Change (half-sheet song; also others 
bearing Waylett's name). 



150 

C. 1745 The Compleat Tutor for the German Flute, .with a choice 
collection of ye most celebrated airs. . . .printed and sold by 
Henry Waylett, in Exeter Change, 8vo. 
Frontispiece of gentleman playing flute, altered from that to Simp- 
son's "Delightful Pocket Companion for the German Flute." 

C 1745-50 VI Solos for a German Flute, Violin, with a thorough 
Bass for the Harpsichord. Composed by Mr. Thos. Davis, 
folio (same imprint). 

1 75 1 Twenty four Country Dances for the year 1751 (same 
imprint), where may be had 24 dances, all by Mr. Thos. 
Davis, oblong 8vo. 

Wilson's " Compleat System of English Country Dancing" mentions 
and gives the contents of Waylett's dances for 1749. (Rev. S. Baring-Gould). 

Waylett, Francis. I have only seen one publication 

bearing this name. He was 
probably a son of the above Henry Waylett, though was at a 
different address. 

1756 The Muse's Choice, a favourite collection of Songs, set for 
the Violin, German Flute, and Harpsichord, by Mr. Joseph 
Bryan. Book 1st, London, printed for and sold by Francis 
Waylett, at his music shop, opposite Suffolk Street, near 
Pall Mall, 1756, folio. (Taphouse). 

~\ft/ elcker. This family of music publishers was of some 
degree of importance during the last half of 
the 1 8th century. The founder of the firm, Peter YVelcker 
was publishing in 1769, and no doubt many years earlier. 
His shop was in Gerrard Street, St. Ann's, Soho, which was 
afterwards numbered 17. He is said to have died in 1775, 
but his widow may have kept on the business in Gerrard St., 
probably under the management of James Blundell, who 
married into the family and afterwards set up business on his 
own account. In 1 776, or prior, John Welcker (a son probably) 
was in business at 9, Haymarket, opposite the Opera House, 
and from here he issued several books of opera dances, etc. 
In 1777 the number was changed to 10, Haymarket, and John 
Welcker retained this shop until near the end of the year 1780, 
when he removed to 18, Coventry Street, leaving the Hay- 
market business to James Blundell (his brother-in-law). John 
Welcker was publishing at the Coventry Street address in 
1785, but I have not ascertained the precise year of the 
stoppage of his business. Some confusion may very easily 
arise as to the dates of the family's publications, for the 
imprints seldom give more than the surname with, or without, 
the address. There is attached to Eastcott's Sonatas, which 
are dated January 1773, a list of about five hundred publica- 
tions " printed for and sold by Peter Welcker. The earliest 



151 

dated work of his I have seen is Hooks' " Vauxhall Songs 
for 1769," folio. His other publications consist in a great 
measure of instrumental music by foreign composers, including 
John Christian Bach, Giardini, Fischer, Kammell, Vento, and 
others. He published also some operas and much Italian and 
English music. One publication is notable ; " The Musical 
Curiosity, or Tabular system, whereby any person, without 
the least knowledge of music, may compose ten thousand 
different minuets in the most pleasing and correct manner, a 
real curious and pleasing work, price 2s. 6d." This very 
desirable half-crown's worth was revived a few years ago for 
the production of waltzes and polkas, a quantity of cards, each 
holding a sequence of notes and arranged at will is the whole 
secret of so prolific a composition. Peter Welcker' shalf- sheet 
songs are frequently merely stamped P. W. 

John Welcker's publications include a number of collec- 
tions of dances, danced at the Opera House, ballets, &c, 
generally in oblong quarto. He also added a fourth volume 
to " Clio and Euterpe," and re-published the other volumes 
from the old plates. He of course issued other works of much 
the same character as his father's. 

WeSSel & Stodart. They were principally importers 

of foreign music, but published 
sheet music on their own account from Rossini's Operas, &c. 
Their address in 1824 was 1, Soho Square. 

Wheatstone, Charles. Published sheet music, &c, 

towards the end of the 18th 
century, though the firm Wheatstone & Co. is said to have 
been first established about 1750. Three early addresses of 
his are 83, St. James Street, near the Palace, 14, Corner of 
Castle Street, Leicester Square, and 3, Bedford Court, Covent 
Garden. I cannot fix the position, in regard to priority, of 
these ; they probably stand as here set down, but he could not 
have been very long at either address. They each occur on 
sheet music published near the junction of the two centuries. 
In. 1806 the directory shows that he had removed to 
436, Strand, and from there most of his work issued. In 
1 81 5 the firm was Wheatstone & Co., and the directory gives 
the same address until at least 1830. The firm is said to have 
been at 20, Conduit Street, Regent Street, from 1823 down to 
to-day. Sheet music and a harp-lute tutor have this imprint. 
One of the best known works published by Wheatstone & Co., 
436, Strand, is a collection of Glees and Catches named "The 
Harmonist," in nine volumes, large octavo, circa 1805-10. 



152 

Another companion work in one volume is " The Naval and 
Convivial Vocal Harmonist," having a portrait of Nelson on 
title, same size and imprint. There were also other collections 
of pieces of songs, and much sheet music. Charles Wheat- 
stone is said to have been the inventor of the Concertina 
which he patented June 19th, 1829. 

Another publisher and instrument maker named William 
Wheatstone was probably a relative and possibly may have 
ultimately become connected with the firm. 

Wheatstone, William. Perhaps a relative of the 

foregoing. He was a 
professor of and a manufacturer of German flutes, in the im- 
provement of which he held some patent. In 1821 he was at 
128, Pall Mall (in the directory this number is, by a misprint, 
made 118), and in 1823 at Charles Street, St. James. In 1825 
and 1826 he had removed to 118, Jermyn Street. With the 
first and the second named addresses on the imprints he pub- 
lished some numbers of " Favourite Melodies of Various 
Nations, for the German Flute," large 4-to, circa 1822-3. It is 
possible he afterwards became associated with the firm 
Wheatstone & Co., as the house in 1853 stands as William 
W'heatstone & Co., 20, Conduit Street. 

^Afheble, John. A bookseller who at one time printed 
and published a "Lady's Magazine," 
in which appeared every month a piece of type printed music. 
He also issued a song book (having a few pages of music at 
the end) entitled "The New Merry Companion, or Complete 
Modern Songster, London, printed for John Wheble, 24, 
Paternoster Row," i2mo. In 1795 he had removed to 18, 
Warwick Lane, and he remained here until at least 181 2. 

Whitaker, Maurice. He followed Henry Thorow- 

good at a music shop in the 
Royal Exchange, about the year 1766 or 1768. He published 
some half-sheet songs which are merely stamped with the 
initials M. W., and issued also "A Complete Tutor for the 
German Flute... printed for and sold by Maurice Whitaker, 
musical instrument maker, under the Piazza, near the north 
gate of the Royal Exchange, opposite Bartholomew Lane, 
London : where may be had all sorts of musick and musical 
instruments, with books of instructions for each," large 8vo. 
A copy belonging to Mr. J. Glen has a former owner's name 
and the M.S. date, 1773. He probably used Thorowgood's 
old plates for the few publications he issued. 



153 

Wigley, John & Charles. John Wigley was a 

music and instrument 
seller established in 1786 at 15, Coventry Street, Haymarket. 
He was here in 1802, but in 1806 and 1807 he had removed to 
11, Princes Street, Hanover Square. His name with the 
Coventry Street address occurs with other music sellers on a 
small oblong volume "The Gentleman's Pocket Companion 
for the German Flute," circa 1799. 

Charles Wigley was, in 1802, in a partnership — Wigley & 
Bishop, music sellers, at 6, Spring Gardens, Charing Cross. 
He was also a jeweller at the same place of business, and in 
1806 was in business alone at the same shop which was then 
named "The Repository of Fashion." In 181 1 he had 
removed to 204, Strand, and from this place were issued three 
or more small oblong volumes of songs and airs for the flute — 
" Wigley's Pocket Companion for the improved octave 

Flageolet, Violin, and German Flute London, printed for 

C. Wigley, at his musical instrument manufactory, 204, 
Strand," oblong i6mo, circa 1810. In 1812 he had removed 
to 151, Strand. In 1794 there was a Wigley, music seller, 
in Whitehall. 

WilcOX, J. Was at the sign of Virgils Head against 
the new Church in the Strand. He pub- 
lished in 1737 a treatise on Thorough Bass by J. F. Lampe, 
and in 1738 the opera of "The Dragon of Wantley," followed 
in 1739 by " Margery." He published also a concerto called 
" The Cuckoo," but little else. 

Williams, Thomas. Was in business at 29, Tavi- 
stock Street, Covent Garden, 
and then at 2, Strand, before 1820, where he remained until at 
least 1827, publishing sheet music, etc. 

There were also others of the same surname in the trade, 
whether connected with the foregoing or not I am unable to 
say. 

L. Williams, 41, Duke Street, Little Britain, published 
" Barney Brallaghan's Courtship," sheet song, circa 1825. 

J. Williams, 123, Cheapside, corner of Wood Street, pub- 
lished a Violin Tutor. 

B. Williams had, at different times, many addresses, as 
19, Cloth Fair, Smithfield, 30, Cheapside, 11, Paternoster 
Row. In more' modern years the firm, B. Williams & Co., 
were still in Paternoster Row. During the forties B. Williams 
published a series of small oblong books of airs for the flute, 
violin, etc., with the title " Williams' Scrap Book." 



154 

Williamson, T. G. His address was 20, Strand, and 

he flourished about 1790. He 
published a collection of " Twelve Country Dances and Cotil- 
lions, by Kotswara, printed and sold by T. G. Williamson, 
20, Strand," oblong 8vo. (British Museum). This work and 
a bound volume of a great number of single sheet songs (in 
my own library) each one bearing the imprint " London, 
printed and sold by T. Williamson, at his music shop, print 
and fancy warehouse, 20, Strand," are the only publications of 
his which I have seen. 

Willis & Co. J- or I- Willis was a Dublin music 
seller and publisher who, up to about 
1825, merely employed an agent, M. A. Burke, 22, Southamp- 
ton Street, Strand, for his London trade. At this time, how- 
ever, a company was formed, who, still keeping on the Dublin 
premises at 7, Westmoreland St., established themselves in a 
room or rooms in the Egyptian Hall, Piccadilly. 

They retained this address until 1827, but shortly after- 
wards removed to 55, St. James Street, from whence most of 
their publications issued. They published a vast mass of 
sheet music, and among larger collections, two volumes of the 
" Tyrolese Melodies," which were the songs sung by a family 
of Tyrolese singers who came to London in 1827. Moscheles 
arranged the music and William Ball translated the songs 
into English verse. One of these gained an immense 
popularity — "The Merry Swiss Boy," and Willis & Co. sold 
it in sheet form with a lithographic vignette at the head. The 
song must have brought a fortune to somebody. 

There was an Isaac Willis, music seller, at 119, New 
Bond Street, in 1853. 

Wilson Robert. Published in 1614, "The Maske 

of Flowers, presented by the 

Gentlemen of Graies-Inne, at the Court of Whitehall, in the 

Banquetting House, upon Twelfe Night, 161 3 London, 

printed by N.O., for Robert Wilson, and are to be sold at his 
shop at Graies-Inne, Newgate, 1614," 4to. There are six 
leaves of music at the end. For full title and other particulars 
see Rimbault's " Bibliotheca Madrigaliana, - ' p. 43. 

Windet John. An Elizabethan printer of repute 
who lived at the sign of the White 
Bear in Adling Street, near Bernard's Castle. In the year 
1594 he was at the Cross Keys, near St. Paul's Wharf. He is 
said to have been in business from 1586 to 1651 (Johnson's 
" Typographia"), but this is evidently a mistake. From 1592 



onwards he printed many editions of Stenhold's " Psalmes " 
in all sizes. His other works include: — 

1604 Songs of Sundrie Kindes. .. .newly composed and pub- 
lished by Thomas Greaves. .. .London, Imprinted by John 
Windet, dwelling at Powle's Wharfe, at the signe of the 
Crosse Keyes, and are there to be solde, 1604, folio. 

1605 The First Part of Ayres, French, Pollish, and others, .com- 
posed by Tobias Hume . . 1605, folio. Same imprint. 

1606 An Houres Recreation in Musicke, apt. for Instrumentes 
and Voices. .. .by Richard Alison.... London, printed by 
John Windet, the assigne of William Barley, and are to be 
sold at the Golden Anchor, in Pater Noster Row, 1606, 4to. 

i6o("> A Booke of Ayres with a Triplicitie of Musicke. .by John 
Bartlet. .. .Printed by John Windet, for John Browne.. 
1606, folio. 

1606 The Second Set of Madrigales to 3, 4, or 5 parts, apt. for 
Viols and Voices. . . .by Michaell East. . . .printed by John 
Windet, the assigne of Wm. Barley, 1606, 4to. 

1606 Funeral Tears, for the death of the Right Honourable 
Earle of Devonshire... by John Coprario. .. .printed by 
John Windet. .for John Browne. .1606, 4to. 

1607 Captaine Hume's Poeticall Musicke, principally made 
for two basse Viols. . . .Composed by Tobias Hume, London, 
printed by John Windet, 1607, folio. 

1C07 The Description of a Maske, presented before the Kinges 

Majestie at Whitehall, on Twelfth Night last John 

Windet, for John Browne, 1607, 4to. 

1607 The First Set of Madrigals, of 3, 4, 5, 6, 7, 8 parts for 
Viols and Voices. .. .Robert Jones, London, Imprinted by 
John Windet, 1607. 

For full titles see Rimbault. 

Wolfe, John. A notable early printer. He lived at 
Paul's Chain and in Distaff Lane, with 
a shop in Pope's Head Alley, off Lombard Street, in 1598. 
He printed several musical works most or all of which were 
versions of the Psalms. They include : — " Musicke of six 
and five partes, made upon the common tunes used in singing 
the Psalms. ..by John Cosyn," 1585, oblong 4to. Fetherstone's 
li Lamentations," 1587, 8vo., and several editions of Stern- 
hold's " Psalms." 

Womum, Robert. The first Robert Wornum is 

said to have been born in 1742, 
and to have died in 1815. He succeeded to the business 
carried on by J. & G. Vogler, in Glasshouse Street. He pub- 
lished from this address some small books of dances including 
" Six New Cotillions and Six Country Dances, with three 



156 

favourite Minuets... by Nicholas Le M aire... London, printed 
for R. Wornum, Glasshouse Street, Burlington Gardens," 
small oblong. He is said to have left here for 42, Wigmore 
Street in 1777, and is set down in the Musical Directory for 
1794 as violin and violoncello maker. He remained at this 
address for many years and issued sheet music. 

After the death of the elder Robert Wornum, his son of 
the same Christian name carried on the business and between 
181 1 and 1842 took out several patents for improvements 
in the pianoforte, to the manufacture of which he and his 
successors principally directed their trade. In 1853 * ne nrm 
was at 16, Store Street, Bedford Square, and it is still an 
important one in the pianoforte trade. 

Wright, Daniel, Though generally considered as 

senior & iunior ' 3Ut one ' tnere were tw0 music 
J ' sellers of this Christian and sur- 

name, father and son, and their publications contain much 
curious matter. So far as I may surmise Daniel Wright was 
established at the beginning of the eighteenth century, though 
the earliest date I can definitely find for him is 1709. His 
shop was next door to a celebrated tavern — the " Sun " — the 
one in Holborn, for there were two hostelries of that name, 
both famous. Wright's shop was at the corner of Brook 
Street, between Gray's Inn Lane and Furnival's Inn on the 
northern side of Holborn. He styled himself maker of 
musical instruments, and no doubt he did a large music 
selling trade. Like the rest of the music trade he had engraved 
slips, which he pasted over the imprints of music sold by 
him but not of his own publication. One of these over a 
dance book issued by John Walsh is : " Sold by Daniel 
Wright, musical instrument maker, next door to the Sun 
Tavern, near Brooke Street, in Holborne, 1709." Wright and 
the elder Walsh appear to have been, in a great measure, 
rivals, and as Walsh, in his early day, copied more or less 
closely the titles of Henry Playford so Wright did the same 
by Walsh. Wright for instance issued " The Monthly Mask of 
Vocal Music," which is precisely the same title as Walsh used 
for a similar work, and Wright for this same work has 
engraved a rough copy of one of Walsh's pictorial title pages. 
Wright also published a " Merry Musician," and a 
British Musical Miscellany, or Delightful Grove," titles which 
Walsh had used before him. I have also found that he made 
direct copies of the small oblong dance books, which Walsh 
issued about 17 14, etc, Did more examples of Wright's pub- 



157 
lications exist further instances might be pointed out. So far 
as I have yet found Daniel Wright, the elder, did not use any 
sign or emblem for his shop, though his son, when he set up 
in business for himself, used at least two different ones. It is 
probable that Daniel Wright, the elder, gave up business or 
died sometime near the year 1734. Meanwhile his son Daniel 
had, perhaps about 1725, established himself in St. Paul's 
Church Yard, at the sign of the "Golden Bass," which may, 
or may not, have been the shop J. Clarke and John Hare 
had held under the sign "The Golden Viol." For some 
years the Wrights' published works in conjunction and these 
have the two names and addresses on the imprint. About 
1735 Daniel Wright, junior, changed his sign to the " Violin 
and Flute." but as he was still on the north side of St. Paul's 
Church Yard it is probable that he did not remove from the 
premises. I have not found out when he ceased business, but 
it was most likely before 1740. 

Whether the whole or part of his stock-in-trade was 
bought by John Johnson, of Cheapside, I am unable to say, 
but Johnson certainly re-published two volumes of Country 
Dances in oblong 8vo, which were entitled " Wrights' Com- 
pleat Collection of Celebrated Country Dances," vol. 1st and 
2nd. The preface to volume one is signed D. Wright, and 
the two volumes are advertised on one of Wrights' books. 

Publications by either of the two are not common ; the 
following, except otherwise stated, are in the library of Mr. 
Taphouse. 

C. 1710 Lessons for the Harpsichord or Spinnet, viz. Almands, 
Corants, Sarabands, Airs, Minuets, and Jiggs, composed by 
Mr. Baptist Lully. .. .London, printed and sold by Daniel 
Wright, musical instrument maker, and musick printer, next 
the Sun Tavern, the corner of Brook Street, in Holborne, 
oblong folio. 
1714 The Godolphin, Mr. Isaac's new dances, performed at 
Court on her Majesty's birthday, 1714. The tunes composed 
by Mr. Paisable, to which are added all the new Minuets, 
Rigadoons, Pasbys, and French Dances, danced at Schools 
and public entertainments at most of the Courts in Europe 
....Price 6d. ; London, printed for and engraved by 
D. Wright, next dore to ye Sun Tavern, at Brooke Street 
end, near Holborn bars, and Mrs. Miller's, at ye Violin and 
Hoboy, on London Bridge : oblong 8vo. 
1718 The Monthly Mask of Vocal Musick, or the newest songs 
made for the theatres and other occasions. . . .Published for 
January, 1718, price sixpence. .. .London, printed for and 
sold by Daniel Wright, musical instrument seller, next door 
to the Sun Tavern . . folio. 

A pictorial title similar to that used by Walsh for his 
" Songs in Hydaspes. " 



158 

C. 1720 An Extraordinary Collection of Pleasant and Merry 
Humours, never before published, containing Hornpipes, 
Jiggs, North Country Frisks, Morriss, Bagpipe-hornpipes, 
and Rounds, with several additional fancies added, fit for all 
those that play publick. . . .London, printed for and sold by 
Daniel Wright, musical instrument seller, next door to the 
Sun Tavern, near Brooke Street, Holborne. Entered in the 
Hall, according to Act of Parliament ; oblong 8vo. (British 
Museum.) 

Chappell (p. 544) says that there were three publications under this 
title ; one entered in Stationers' Hall in 1713. 

C, 1720 The Musical Pocket Book, containing an Extraordinary 
Collection of the newest and best lessons of English and 
Italian Aires, Preludes, Allenands, Corants, Minuets, and 
Jiggs; also some of the most celebrated song tunes, with 
their symphonys, taken out of the most choicest operas .... 
Price is. 6d. . Published without leading strings for ye use 
of those persons that can go alone. .. .London, printed for 
and sold by Daniel Wright, musical instrument seller, next 
door to ye Sun Tavern, ye corner of Brook Street, in Holborn 
near the barrs, oblong 8vo. 
(A preface gives the reason of the curious mention of leading strings ; 
the work is simply published without the usual pages of instructions, 
common in such collections.) There is advertised in this volume a Col- 
lection of Scotch Tunes, a book of Hornpipes, and Corelli's Solos. 

C. 1726-7 Aria di Camera, being a choice collection of Scotch, 
Irish, and Welsh Airs for the Violin and German Flute, by 
the following masters, Mr. Alexander Urquhart, of Edin- 
burgh, Mr. Dermot O'Connar, of Limerick, and Mr. Hugh 
Edwards, of Carmarthen. .. .London, printed for Dan. 
Wright, next the Sun Tavern, in Holborn, and Dan. Wright, 
junior, at the Golden Bass, in St. Paul's Church Yard, 
small 8vo. 
With frontispiece (a work of much interest). 

1732 Minuets and Rigadoons, with Basses for the year 1732, to 
which is added ye Minuets and French Dances as they were 
perform'd at Court upon his Majesty's birthday. .. .Cross, 
Sculpsit. . . .London, printed for and sold by Daniel Wright, 
musical instrument maker, next door to the Sun Tavern, in 
Holborn, and D. Wright, junior, at the Golden Bass, in ye 
north side of St. Paul's Church Yard, near Cheapside, 
oblong 8vo. 

The Quakers' Comical Song, sung by Mrs. Willis at the 

New Theatre, exactly engraved by Daniel Wright. (Early 

sheet song, begins " Among the pure ones all." (British 

Museum.) 

Another song, referred to by Chappell, is a Robin Hood ballad, p. 395. 

Stenhouse mentions, p. 58, "The British Miscellany, or the Harmonious 

Grove, printed for Daniel Wright, Brook Street, London, in November, 

1 733" There is little doubt that this is a copy of Walsh's better 

known publication. Mr. Chappell was possessed of a Daniel Wright 

edition of " The Merry Musician, or a Cure for the Spleen, a collection of 

English and Scotch Songs," this was included in Quaritch's Catalogue, 

December, 1S87. 



159 

Daniel Wright, Junior. 

C. 1725-30 The Second Book of the Flute Master, improved, contain- 
ing the plainest instructions for learners, with variety of 
easy lessons by the best masters. .. .London, printed for 
D. Wright, junr , in St. Paul's Church Yard, near Chf^pside, 
where may be had the 1st and 2nd Collections of Country 
Dances for the Flute ; oblong 8vo. 

C. 1730 The Rover, set by Mr. Betty, organist, Manchester.... 
Printed for D. Wright, junr., at ye Golden Bass, the north 
side of St. Paul's Church Yard.. Cross, Sculpt. Sheet 
Song in British Museum, begins: "Tost in doubts and 
fears." 

C 1735 The Compleat Tutor for ye Flute, containing the newest 
Instructions for that instrument, by Daniel Wright, M.M. 
Likewise a collection of ye most favourite tunes, collected 
from Ballad Operas ; the whole illustrated with propper 
graces. .. .London, printed for ye author at ye Violin and 
Flute, the north side of St. Paul's Church Yard ; large 8vo; 
frontispiece. (In my own library). 

Wright & Co. Hermond or Harman Wright, in 
partnership with a person named 
Wilkinson (possibly the Wilkinson who afterwards was a 
partner with Broderip), succeeded Elizabeth Randall at 
Walsh's old shop in Catherine Street, Strand ; this was some 
time between 1781 and 1784. John Walsh, the younger, 
when he died, must have left an enormous stock, and no 
doubt both Randall and Wilkinson will have sold from it 
extensively, occasionally reprinting, from the original plates, 
works in demand. The works of Handel were always sale- 
able, and Wright & Co. re-printed these very largely. They 
of course re-issued and published works by other composers, 
and their imprint is found on many detached pieces of music 
and songs. 

In 1789 the directory shows Harman Wright alone at 13, 
Catherine Street, and he remained here until at least 1799. 
In 1802 the directory shows that he had removed to 386, 
Strand ; after this I lose trace of him. 

Wybrow, VV\ At the "Temple of Apollo," 24, Rath- 
bone Place, a publisher who first came 
into notice about 1820. He published a great quantity of 
sheet songs from this date until comparatively late in the 
century. At an early period the imprint is frequently 
W. & S. Wybrow. About 1830 W. Wybrow announced that 
at a recent sale he had purchased the original plates of 
Dibdin's Songs. These he re-issued and in fact much of his 
early music appears to have been from earlier plates. In 1853 
William Wybrow was at 33, Rathbone Place. 



160 

Young, John. Was a music seller and instrument 
maker at the sign of the Dolphin and 
Crown, in St. Paul's Church Yard, at the west side and at the 
corner of London House Yard. He must have been estab- 
lished in the last years of the seventeenth century, and though 
so far as I have seen he published nothing on his own account, 
yet his name occurs on the imprints of several of the music 
printers and publishers of his day. The earliest which I 
know is a half-sheet song in the British Museum, " The 
Scotch Wedding, or the Lass with the Golden Hair," circa 
1700, " printed for and sold by I. Walsh, musical instrument 
maker to his Majesty, at ye Golden Harpe and Hoboy...and 
I. Hare, at ye Golden Viall, in St. Paules Church Yard... and 
I. Young, musicall instrument maker, at ye Dolphin and 
Crown, in St. Paules Church Yard." His name is on the 
1707 edition of "Pills to Purge Melancholy" ; Chr. Simpson's 
"Compendium of Practical Musick," 1714; "The Merry 
Musician," volume 2 (circa 1728); "The Dancing Master," 
third volume (circa 1728), and the 4th edition of the second 
volume of the same work. This last is dated 1728. It is 
probable that Young died about this period, for I have found 
no later imprints. One of Young's trade labels now before 
me runs : — " Sold by John Young, Musical Instrument Seller, 
at the Dolphin and Crown, at the west end of St. Paul's 
Church, where you may be furnished with al sorts of Violins, 
Flutes, Hautboys, Bass- Viols, Harpsicords, or Spinets, like- 
wise al Books of Tunes and Directions for any of these Instru- 
ments, also al sorts of Musick, Rul'd Paper, and Strings, at 
Reasonable rates." 

Hawkins says that he had a son named Talbot who had 
attained great proficiency on the violin. This notice of Young 
may be fitly concluded with the clever and oft quoted catch 
as printed in the " Second Book of the Pleasant Musical 
Companion, London, printed by Wm. Pearson, for Henry 
Playford, 1701 ; it is generally given as from the 1726 edition : 
"A Catch upon Mr. Young and his Son." — Dr. Casar. 
You scrapers that want a good fiddle well strung, 
You should go to the man that is old while he's Young. 
But if this same fiddle you fain wou'd play bold, 
You must go to his son, who'll be Young when he's old. 
There's old Young and young Young, both men of renown. 
Old sells, and young plays the best fiddle in town. 
Young and old live together and may they live long, 
Young to play an old fiddle, Old to sell a new song. 



€nglisb Provincial Publishers. 



Bath. 

Lintern, J. & W. Abbey Church Yard. They were 
music sellers and agents for 
Cahusac & Sons upon whose imprints their names frequently 
appear. They published occasionally — one work being : " Ten 
Country Dances, and four Cotillions... for 1797, printed for 
and sold at J. & W. Lintern's Music Warehouse, Bath," 
oblong 4to. (British Museum.) 

Loder, John David. A violinist of repute, who was 

born at Bath in 1793, and died 
in 1846. He had a music shop at 46, Milsom Street, and pub- 
lished from here pieces of sheet music. One series (about 
1820) is " Loder's edition of Handel's Songs... carefully adapted 
from the full score, by J. W. Windsor. Bath, printed and 
sold by J. D. Loder, at his music and musical instrument 
warehouse, 46, Milsom Street," folio. His engraved label, 
also bearing this address, is found pasted on sheet music. 
There was also another of the same musical family, A. Loder, 
who had about the same period a music shop at 4, Orange 
Grove. 

White, John Charles. 1. Milsom Street, and 3, 

George Street, published, 
about 1818-20, "The Dandy Beaux," "Vulcan's Cave," and 
other sheet dance music, as well as vocal pieces ; much of it 
composed by the publisher himself. 

Birmingham. 

BrOOine, Michael. At the sign of Purcell's Head, 

Colmer Row ; seems to have 
been an engraver who published several books of music. I 
am acquainted with the following : — 

C. 1750 A Choice Collection of twenty four Psalm Tunes, all in four 
parts, and fifteen Anthems, by different authors. .The whole 
collected, engraved, and printed by Michael Broome, music 
and copper plate printer, in Colmer Row, near St. Phillip's 
Church, Birmingham. (British Museum.) 

1753 A Collection of Twenty eight Psalm Tunes, in four parts, by 
several authors, printed to the new version of the Psalms for 



162 

the use of the Churches and Chapels in and near Birming- 
ham. .. .collected, printed, and sold by M. Broome, Birm- 
ingham, 1753, Svo. (British Museum.) 

r 757 The Catch Club. . . .collected, printed, and sold by Michael 
Broome, near St. Phillip's Church, Birmingham, 1757. (A 
copy in the library of Mr. S. Reay, Newark.) 

Smith, Wm. Hawkes. Temple Street, published 

at least two humorous sheet 
songs with music. The titles and body of these are quaintly 
illustrated and the whole is done in lithography. The two in 
my own library are " Quadrilling, a favourite song, ascribed to 
the authors of ; Rejected Addresses,' the decorations designed 

and executed by William Hawkes Smith, Birmingham 

Printed by the lithographic process by W. Hawkes Smith, 
Temple Street, 1820." The other is " Washing Day, a proper 
new ballad for wet weather," similar imprint. An enterprising 
firm of soap manufacturers seized upon this latter and re-issued 
it as an advertisement some few years ago. 

Woodward. - " Musical instrument maker and music 
seller, Birmingham " — engraved label 
pasted on sheet music about 1790. 

Bristol* 

Howell. His name as music seller occurs on London 
published sheet music about 1800. A curious 
shaped violin bears the label T. Howell, Bristol, 1836. 

Smith A. P. Another Bristol music seller whose 
name is given on a Birmingham sheet 
song "The Washing Day," circa 1820. 

Cambridge. 

Barford, M. Union Street, a music engraver, copper 
plate printer, and music seller. He pub- 
lished about 1798 " Barford's Collection of Rondos, Airs, 
Marches, Songs, etc., for the Pianoforte, Violin, and German 
Flute," 4 books, oblong 4to. 

Wynne. A music seller whose name is engraved on 
Edward Miller's " Elegies," published by 
Mrs. Johnson, Cheapside, circa 1765. 



163 

Cbcllcnbain. 

Hale C. 385, High Street. He published at least two 

books of dances : — " Hale's Selection of 

Quadrilles, Waltzes, and Dances, composed and arranged for 

the pianoforte or harp," oblong 4to, with a view of the gardens 

on title. 

Gloucester. 

Raikes, R. He was, there is reason to believe, the 
father of Robert Raikes, the founder of 
Sunday Schools. The elder Raikes was born in 1690 at 
Hessle, near Hull, and began life as a printer at York. On 
removing to Gloucester he founded the " Gloucester Journal." 
The only musical work bearing his imprint that I know of is 
in Mr. Taphouse's collection : — " Two Cantatas and Six 
Songs, set to music by B. Gunn, organist of the Cathedral in 
Gloucester. Gloucester, printed by R. Raikes, 1736," 4to, 
title in type printing, music engraved. 

Greenwich. 

Martin, C. Published a sheet song: — "In Airy 
Dreams, a favourite song and duet, printed 
and sold by C. Martin, Greenwich," circa 1795. 

Great milfoil. 

Wilkins, Mathew. Published :—" A Book of 

Psalmody, containing a choice 
collection of Psalm-Tunes, Hymns, and Anthems, in 2, 3, and 

4 parts, by the best masters collected, printed, taught and 

sold by Mathew Wilkins, of Great Milton, near Thame, 
Oxfordshire," oblong 8vo., circa 1740-50, engraved. 

Halifax. 

Jacobs, E. A printer and bookseller who published a 
very excellent song book, having the airs 
to the songs printed from music type. This was : — " The 
Yorkshire Musical Miscellany, comprising an elegant selection 
of the most admired songs in the English language set to 
music... Halifax, printed by E. Jacobs, and may be had of 



164 
Binns, Leeds; Peck, York... 1800," 8vo. Another work is 

''Sacred Music, consisting of a new book of Psalmody by 

the Rev. John Chetham...the whole carefully corrected and 
revised by Mr. Stopford, organist of Halifax, printed and sold 
at Jacobs' office, near the new Market, 181 1," 8vo ; music 
printed from type. These are the only musical works I have 
found having his imprint. In 1822, E. Jacobs had given place 
to James Jacobs. 

ftuddcrsfield. 

Lancashire, J. He printed and published a small 
volume of songs with the airs printed 
from type, asunder, " The Musical Cabinet, being a selection 
of the most admired English, Scotch, and Irish Songs, with the 
music... Huddersfield, printed and sold by J. Lancashire," 
i2mo, circa 1814. 

CccUs. 

Livesey, Christopher. A Leeds engraver, who, 

about 1790, engraved 
several musical works for Henry Hamilton, a music master 
and composer. One of these is a folio of nine pages : " Four 
Airs for the Harpsichord, Pianoforte, and Organ, composed 
by Henry Hamilton, organist, printed for and sold by the 

author, by Mr. Binns, and Mr. Porter, Leeds engraved by 

Chr. Livesey, Leeds," folio. Another, a folio sheet, with 

watermark 1801, is "The Duke of York's New March by 

H. Hamilton, and published by permission of his Royal 
Highness the Duke of York, sold by the author, and at Mr. 
Porter's shop, Leeds; Livesey, Sc, Leeds." Another song 
sheet by Hamilton, watermark 1810, is: "Hymns, by the 
Countess of Essex, published by H. Hamilton." Henry Hamil- 
ton, the composer, was a musician and a teacher ; his address 
in 1 81 7 and 1822 was at 8, Low St. Peter's St. Christopher 
Livesey, the engraver, afterwards associated himself with 
Butterworth, a well known Leeds engraver. Edward Porter, 
the music seller and bookseller, had a shop, about 1790, in 
Briggate, but in 1798 he had removed to Lowerhead Row 
where, with changes of number, he still remained up to 1837. 
Porter's stamp is frequently found on music, but I have, as 
yet, discovered no piece of music which he himself published. 



165 

Muff, Joshua. He was at one time the principal 
music seller in Leeds. Before 1817 
he held the shop, 17, Commercial Street, now part of the 
premises of Mr. Jackson, bookseller. Somewhere about 1825, 
he removed nearer Briggate. 12, Commercial Street, a shop at 
the corner of Land's Lane, at one time held by Butterworth 
& Hope, engravers. He removed again to 16, Commercial 
Street, where, before his retirement from business, he was an 
insurance agent and a manufacturer of printer's brass rules. 
About 1846, he sold his business to Messrs. Simms, pianoforte 
dealers and music sellers, and retired to his house at Headingley. 
Mr. Muff was a precise old gentleman, and, if I mistake not, a 
quaker. Muff published many musical pieces in sheet form 
and in larger gatherings, as : — 

C. 1816-7 The Leeds Quadrilles, as danced at the Assemblies; for the 
pianoforte, violin, etc., by R. Willis, published by the author 
and may be had at his house in Providence Row, oblong 4to. 

1817 A Set of Six Quadrilles, by R. Willis, Leeds. .. .J. Muff. 
Commercial Street, folio (preface dated 18 17). 

C. 1818-9 No. I of an Original Set of Psalm and Hymn Tunes, 
adapted for the use of Churches, Chapels, and Sunday 
Schools .... by James Ellis, Horsforth, near Leeds. Pub- 
lished by the author and may be had of Mr. Mufl, Mr. 
Sykes, and Mr. Booth, Leeds," oblong 4to. 

C. 1820 Sacred Harmony, being an entire new set of Psalm Tunes, 
adapted to all the various measures contained in the old, the 
new, and Dr. Watts' edition of the Psalms, by B Clifford, 
late 1st West York Militia. Leeds, published by W. Clifford, 
and may be had of Mr. Muff, Mr. Porter, and Mr. Booth, 
Leeds, oblong 4to. 

C. 1815 The Fall of Paris, a favourite Quick Steps, as performed 
by the Duke of Gloster's band ; Leeds, published by I. Muft, 
17, Commercial Street, half sheet folio; at the back is 
" March in Blue Beard." 

C. 1815 The Celebrated Irish Melody : Fly not Yet, newly adapted 
for the pianoforte or harp, by J . White, the words by a Lady. 
Leeds, printed and sold by J. Muff, 17, Commercial Street, 
folio sheet song in imitation of Thomas Moore's well known 
lyric. 

Sykes. The Sykes family has been for a long time 
associated with the Leeds music trade, and the 
business founded by the earlier branches is still in existence. 
In 1 81 7 William Sykes dealt in music at 18, Burley Bar, and 
in 1822 with additional premises — Nos. 16 and 18. in 1826, 
as Sykes & Son, the firm is at 72, Briggate, with the premises 
still held at Burley Bar (Guildford St.), and shortly before 
1837 they remove to 21, Boar Lane. Either the number is 



166 

altered or they again change shops, being, in 1845, at 30, Boar 
Lane (on the south side of the street), and here John Sykes 
remained until after 1861. The present shop, which has been 
held for a long time, is at the corner of Bond Street and 
Albion Street. Sykes & Sons published several musical 
works ; the ones I have seen are : — 

182S Modulus Sanctus, a collection of Sacred Music, arranged 
for 1 or 4 voices, with an accompaniment for the organ or 
pianoforte, by John Greenwood, late organist of the Parish 
Church, Leeds. Leeds, published by Sykes & Sons, at their 
music warehouse, 72, Briggate, 4to ; printed date on cover 
1828. 

1830 A Seventh set of Hymn Tunes, to which is added a few 
suitable for Christmas, by John Fawcett, late of Kendal ; 
Leeds, Sykes & Sons, 1830, oblong 4to, with litho frontis- 
piece. 

C. 1830 Robert's Melodia Sacra, for 1 or 4 voices, arranged by 
John Fawcett, late of Kendal ; Leeds, Sykes & Sons ; Lon- 
don, Goulding, 20, Soho Square, and Clementi & Co., oblong 
4to. 

Wright, Thomas. He printed, so far as I have been 

able to ascertain, the first Leeds 
musical work and this was in 1787. The book is an edition of 
Chetham's Psalmody, with the music portion cut in wood. 
These wood blocks had been used for a prior edition of the 
same work, dated 1752, and which, though bearing a London 
imprint, was " Printed for Joseph Lord, at Wakefield " ; most 
likely indeed there printed. The title and imprint of Wright's 
work is as follows : — 

1787 A Book of Psalmody, containing a variety of tunes for all 
the common metres of the Psalms in the old and new 
versions, .with chanting tunes, .and fifteen Anthems, all set 
in four parts, nth edition, by the Rev. John Chetham. 
Leeds, printed by and for Thomas Wright, and for John 
Binns and Wm. Fawdington, Leeds.. 1787, 8vo. (In my own 
library.) 

Thomas Wright had, in 1798, an establishment at " New 
Street End," and Wm. Fawdington had a shop (in the same 
year) under the Moot Hall. He was a volunteer in a newly 
raised corps. John Binns, the most famous bookseller of the 
trio, had a shop near the corner of Duncan Street, in Briggate, 
where he sold new and old books, besides being a printer and 
publisher. He was proprietor and printer of the " Leeds 
Mercury," and died in 1796. 

Another early Leeds music seller who may have pub- 
lished works was William Booth, who, in 1809, had a shop in 
Mill Hill. In 181 7, he was styled maker of musical instru- 



167 

ments, at 58, Mill Hill ; in 1822, as a Violin and Violoncello 
maker, 57, Mill Hill. He took his sons into partnership, and 
the firm had many changes of address. In 1861 Edward 
Booth, the son, was in the Central Market. The family ranked 
in the early Leeds musical circles. 

Though considerably after the period covered by the 
present work, mention may be here made of John Swallow, a 
music type printer, who, before 1837 to after 1861, had premises 
in the Corn Exchange. He issued several notable works, as : 
" A Collection of Glees, etc.," in oblong quarto, and "The 
Deliverance of Israel from Babylon, by Wm. Jackson, of 
Masham." This is a bulky folio, type printed, and dedicated 
to Prince Albert. 

CiiKrpool- 

Hime. There were two brothers of this name in the 
music trade: — M. Hime, who established a large 
business in Dublin, and his brother, Humphrey, who founded 
almost as large a one in Liverpool ; in fact, Humphrey Hime 
appears to have been the largest of the provincial publishers. 
The two were in partnership in Liverpool prior to 1790, for 
the directory for that year gives: — "Hime, M. & H., music 
warehouse, 56, Castle Street," and as the directory for 1796 
records one name alone, " Hime, Humphrey, 57, Castle St.," 
it is very likely that the other brother had removed to open his 
Dublin business. In 1805, H. Hime had taken his son 
into partnership and had opened another shop in Church St., 
opposite the post office, then in that street. They occupied 
these two places of business for a considerable length of time, 
ultimately making the Church Street shop the principal one. 
The Castle Street shop is variously numbered, 56, 54, 14, 53, 
and again 40 ; so also the case with the Church Street premises, 
which are 32, and at a late period, 57. The Church Street 
shop was held till into the seventies ; a modern imprint gives : 
" Henry Lee, late Hime & Son, 57, Church Street." There 
were others of the Hime family in the music trade in Liver- 
pool during late years. 

Humphrey Hime and Hime & Son, so far as I have seen, 
only published sheet music — mostly songs. They were 
always particularly well engraved and learly printed. Out of 
the great numbers which I have seen I select the following : — 
O Ever Skill'd, a favourite song, composed by J. A. Steven- 
son, Mus. Doc, Liverpool, published by H. Hime, Castle 
Street, folio. 



168 

The Earth is a Toper, translated from the Greek. . . .sung 
by Mr. Meredith at the Music Hall, Liverpool. Printed and 
sold at Hime's Music Shop, 14, Castle Street. 

The Chapter of Kings .. written and sung by Mr. Collins, 
author of The Brush. .Liverpool, Hime & Son, Castle Street 
and Church Street. 

Saint Patrick was a Gentleman, a new comic song.. sung 
by Mr. Penson, at the Theatre Royal, Liverpool, Hime & 
Son, Castle Street and Church Street, opposite the Post 
Office Place. 

Diamond cut Diamond, or the Yorkshire Horsedealers ; 
All alive at Liverpool ; Adventures of a Steam Packet ; The 
Dandy ; Dancing, Quadrilles, etc. Some of these comic songs 
have pictorial titles. 

Sadler, John. At first a printer, but who afterwards 
became famous by reason of his inven- 
tion for using engraved transfers on china and earthenware. 
In this he was joined by Guy Green, and Sadler & Green 
produced for Wedgwood and others a vast quantity of black 
printed earthenware. John Sadler was the first (so far as I 
have been able to ascertain) to issue printed or engraved music 
in Liverpool, and in 1754 he published a thick octavo volume 
entitled " The Muses Delight." The book contains a series 
of instructions for the different instruments, a musicals- 
dictionary, and a great number of songs, with and without 
the music. At first sight it might be considered that the 
music was set up in type, but closer examination will show it 
to have been neatly cut in wood. In 1756 the work was again 
re- issued in two volumes, under the title "Apollo's Cabinet 
or The Muses Delight." The old printed sheets of " The 
Muses Delight " appear to have been used up to p. 230 and to 
this others were added. It may be noticed that pp. 231 and 
232 are frequently missing from the "Apollo's Cabinet," 
p. 232 is blank in the " Muses Delight," but in the former 
work this page contains the song (its first appearance in print), 
" Ge ho Dobbin, or, the Waggoner." It is likely that the 
publisher himself has cancelled the leaf after the work has 
been printed. Besides the date 1756, there are other copies of 
"Apollo's Cabinet," which are dated 1757' and another, 1758. 
I have also some reason to believe that others have a London 
imprint. Included in most copies of the work are a few pages 
of engraved music, being " Twelve Duettos for two French 
horns and two German flutes, composed by Mr. Charles." 

John Sadler's place of business was in Harrington Street, 
and upon his discovery of earthenware printing he seems to 
have entirely abandoned the printing and publishing of books. 



169 

1754 The Muses' Delight, an accurate collection of English and 
Italian Songs, Cantatas, and Duetts, set to music. . . .Liver- 
pool, printed and published and sold by John Sadler, in 
Harrington Street, 1754, 8vo. 

1756 Apollo's Cabinet, or The Muses' Delight, an accurate 
collection of English and Italian Songs, Cantatas, and 
Duetts, set to music. . . .volume I (and volume II) . . . .Liver- 
pool, printed by John Sadler, in Harrington Street, 1756 
(copies also dated 1757 and 1758), 8vo. 

Sibbald, William. He appears to have been a 

teacher of the guitar and a 
music seller sometime between 1770 and 1780. The only 
work bearing his imprint is in my own library, it is a work in 
folio of 16 pages, and is engraved "A Choice Collection of XII 
of the most favourite Songs for the Guittar, sung at Vaux 
Hall, and in the Deserter, now performing at the Theatre 

Royal, in Drury Lane with an easy bass throughout, by 

D. Ritter... Liverpool, printed for Wm. Sibbald, teacher of the 
Guittar... and sold at his music shop, Temple Bar, in New 
Market... folio, circa 1773-4. The Liverpool Directory for 
1774 gives : — "Sibbald, Wm., music shop, 5, Temple Bar'" ; 
that for 1781, " Sibbald, Wm., musician, 46, Lord Street." 

* Yaniewicz, Felix. He was a Polish violinist of 

some degree of celebrity, who 
settled in Liverpool. The earliest trace I can find of him here 
is in the directory for 1800, where he is entered as " Musician, 
Upper Birkett Street, St. Annes." In the one for 1803 he is, 
" Musician and Musicseller, Lord Street"; in 1805 and 1807, as 
at 29, Lord Street, with a house in Lime Street. In 1810 he 
has gone into partnership with a person named Green, but in 
1813 and 1816 he is alone again at 60, Lord Street. In 1818 
the firm is Yaniewicz & Wiess, and they remain at the above 
address until 1827, when they are at 2, Church Street. In 
1829 W. G. Wiess is alone at this address and in 1832 
Felix Yaniewicz is a dentist at 44, Bold Street. Messrs. 
Brown & Stratton's account of Felix Yaniewicz is that he was 
born in 1762, married Miss Breeze in 1800; settled in Edin- 
burgh in 1815, where he died in 1848. Yaniewicz certainly 
was leader of the first Edinburgh Festival, and in 1819, etc., 
he was giving a series of concerts there. It is likely that he 
had handed over to his son and to his partner his active share 
in the Liverpool business. It is also likely that his son, perhaps 
bearing the same Christian name, had turned dentist. William 
Gardiner, in " Music and Friends," speaks of having met the 
celebrated performer while on a visit to Liverpool. 



170 

He published some sheet music as : — " The Ladies' 
Collection of Pianoforte Music... com posed and selected by 
Felix Yaniewicz, Liverpool, printed and sold at his music and 
instrument warehouse, 25, Lord Street," folio ; " Mozart's 
Grand March, Liverpool, printed and sold at Yaniewicz's music 
warehouse, 25, Lord Street" ; "Song of Battle. ..by Mathew 
Haughton, the music by F. Yaniewicz, Liverpool," similar 
imprint. 

Manchester. 

Smith, Henry. Was printer and publisher of the 

" Manchester Iris." With this 

paper were issued musical settings of songs, &c, both type 

printed and engraved ; circa 1823, etc. The printing office 

was in or near St. Ann's Square. 

Townsend, John. Kept a music shop in King St. 
In 1825 the number was 73, after- 
wards 2. He published: — "Twenty four favourite Country 
Dances for the flute, clarionet, or flageolet... J. Townsend, 2, 
King Street, Manchester," printed title, engraved music, 
oblong 8vo, circa 1838. This is perhaps one of the latest sur- 
vivals of the yearly twenty four country dances in oblong 
octavo. 



Reu)castle=on=Cpne. 

Kinloch Monro. Published " One Hundred Airs 
(principally Irish), selected and 
composed by Lieut. Gen. Dickson, arranged for the pianoforte, 
violin, flute, etc., by Mr. Thomson, organist of St. Nicholas, 
Newcastle-upon-Tyne, dedicated to the Duke of Northumber- 
land, by Alex Monro Kinloch, dancing master... printed by 
Goulding & Co. for Mr. Kinloch, at his music Saloon, New- 
castle." 2 vols., oblong 4to, circa 1 816- 17. 

Another early Newcastle work, circa 17801s " Six Minuets 
for two violins and violoncellos, adapted for the harpsichord 
or pianoforte... composed by I. Gregg, Dancing Master, New- 
castle," oblong 4to. No imprint. 

About 1803, W. Wright was one of the principal music 
sellers of this place, and his name is given on London sheet 
music as selling the same. 



171 

Oxford. 

Turner Wm. So far as 1 have yet found William 
Turner was the first printer in Oxford 
to use music type. He printed in 1634 a work which con- 
tained two pages of music from moveable type, forming the 
musical setting to a song. The title of the work is : " The 
Feminine Monarchic, or the Histori of Bees ; their admirable 
nature and properties... by Charles Butler, Magd.... Oxford, 
printed by William Turner, for the author, 1634," 8vo (Tap- 
house). An edition of this is cited under the date 1609. 
Charles Butler also wrote another curious musical work " The 
Principles of Musick," 1636 (see p. 61 present volume). 

Hall William. One of the best known of the early 
Oxford printers. He printed from 
moveable type Dr. Wilson's " Cheerfull Ayres, or Ballads, 
first composed for one single voice and since set for three 
voices, by John Wilson, Dr. in music... Oxford, printed by 
W. Hall, for Ric. Davis, 1660," oblong 4to. (Taphouse.) 
Playford re-printed this work (see p. 100). The errata is 
preceded by the following note " This being the first essay for 
ought we understand of printing musick that ever was in 
Oxford, and the printers being unacquainted with such work, 
hath occasioned the faults hereafter mentioned in this single 
book." The above implies that Wm. Hall was practically 
the father of music printing in Oxford, though as seen above 
Wm. Turner had previously set up a couple of pages of music. 
Another of Hall's printing was : — " A Short Direction for the 
performance of Cathedral Service, published for the informa- 
tion of such persons as are ignorant of it... by E. C... Oxford, 
printed by William Hall, for Richard Davis, 1661," oblong 
4to, from type, the copy in the Bodleian has a M.S. date Ian. 
1, 1660. The above E. C. was probably Edmund Chilmead 
who wrote a learned essay on Greek music. This formed an 
appendix to an edition of " Aratus," printed at Oxford in 1672. 

Bowman, Thomas. He was the publisher of two 

editions of " Songs for one, 
two, and three voices, to the thorow-bass, with some short 
Symphonies collected out of some of the select poems of the 
incomparable Mr. Cowley and others and composed by Henry 
Bowman, philo musicus, Oxford, printed, and are to be sold 
by Thomas Bowman, Bookseller, Anno Domini 1678," folio, 
title page printed, the music engraved. A second edition was 
printed in 1679. 



172 

Mathews, Wm. Was a music seller in business in 
the High Street during the latter 
part of the 18th century. His engraved label is found pasted 
on sheet music and the following piece of music bears his im- 
"print : " The Highland Laddie, as originally composed for 
and sung at Mary Bone Gardens in June, 1 771... set to music 
by P. Hayes, Mus. Doc"; at the foot is " printed for W. 
Mathews, in the High Street, Oxford, engraved by T. Straight, 
17, St. Martin's Lane," folio, circa 1780. 

Beesly, Michael. Engraved, printed, and published 
an oblong collection of Psalm 
tunes about 1760, entitled : " A Book of Psalmody, containing 
instructions for Young Beginners, after as plain and familiar 
a manner as any yet extant. To which is added a Collection of 
Psalm Tunes... collected, engraved, and printed by Michael 
Beesly, and sold by Edward Doe, bookseller in Oxford, by 
Thomas Price, bookseller in Gloucester, and by John Edmund, 
at Winchester," oblong 4to (instructions are printed, the 
tunes engraved. It is, I presume, an Oxford printed work— 
my own copy bears a name and M.S. date 1773). 

Hardy Henry. Probably succeeded to the business 
carried on by Mathews in the High 
Street. He had an engraved label, and his imprint is on the 
following, " Sweet Annie, a favourite Scots Song, composed 
by P. Hayes, Muc. Doc, printed for Henry Hardy, High 
Street, Oxford, where may be had ' The Highland Laddie,' by 
Dr. Hayes, Handel's Songs... and songs by the late J. Norris. 
Haydn's overture... area 1790. 

Tuns' Phillip. An Oxford music seller towards the 

^ ' end of the 18th century. He pub- 

lished sheet songs ; one is " The Virtues of Snuff, printed for 
Phillip Jung, music seller, at Oxford, and to be had at all the 
music shops in town and country," circa 1790. About or 
before this date another sheet — an arrangement by Dr. Phillip 
Hayes called "The New Soger Laddie," sung by Mrs. 
Crouch, is printed for Firth and Jung, at Oxford. 

Sheffield. 

Gales T. Printed and published "The Musical Tour 
of Mr. Dibdin, in which, previous to his 
embarkation for India, he finished his career as a Public 
Character. Sheffield, printed for the author by J. Gales, and 
sold by all booksellers throughout the kingdom, 1788," 4-to. 
The work contains a number of well engraved music plates. 



173 

Wakefield, 

Lord Joseph. He appears to have been a bookseller 
in a large way of business, and, in 
1746, had, besides his Wakefield shop, branches at Barnsley 
and Pontefract. His name, either as publisher or salesman, 
is found on the imprint of many old Psalm books. One work 
is "A Book of Anthems... (the second edition) by Josiah 
Street, London, printed by Robert Brown, in Windmill 
Court, Pye Corner, for Joseph Lord, bookseller, in Wake- 
field, in Yorkshire, and sold by him at his shops in Barnsley 
and Pontefract [other Yorkshire booksellers follow] 1746, 8vo, 
type printed. Another is the 8th edition of Chetham's 
" Book of Psalmody... London, printed for Joseph Lord, book- 
seller in Wakefield, in Yorkshire, and sold by him at his shops 
in Barnsley and Pontefract... 1752," 8vo. The music is cut on 
wood, and was again used in 1787 by Wright, of Leeds. 

Winchester. 

Robbins, James. College Street. He published 
" Harmonia Wykehamica. The 
Original Music in Score of the Graces used at Winchester 
College, and at the New College, Oxford, also the Hymn, 
Jam Lucis ; the song, Dulce Domum, and the song, Omnibus 
Wykehamicis...the whole printed under the direction of the 
Rev. Gilbert Heathcote, A.M., 181 1 ...Winchester, printed for 
and sold by Jas. Robbins, College Street, and may be had in 
London of Goulding & Co., 20, Soho Square," oblong folio. 
There is an earlier edition of this work. 

york. 

The earliest piece of York music printing I have note of 
is " Psalm Tunes in four parts, 7th edition, with additions by 
Abraham Barber, York, 17 15." This work was sold at 
Rimbault's sale, but I have no information as to the printer. 

White, Grace.* Printed in 1720 the following work, 
a copy of which is in my own 
library, " The Psalm Singer's Guide, being a choice collection 
of the most useful tunes of the Psalms, in two, three, and four 
parts... collected and composed by Edm. Ireland, and taught 
by J. Hall, R. Sowerby, J. Turner, and others, the 4th edition, 
with additions... York, printed by Grace White, for the 
author... 1720," i2mo. 

* She was the widow of J. White, a notable York printer, " at the signe 
of the Bible, in Stonegate." She was re-married in 1724, to Thomas 
Gent, who had been a journeyman printer with her husband. 



174 

Haxby. Was a music seller in York some time about 
1 760- 1 770. He is named as being a subscri- 
ber to and seller of " Elegies, Songs, and an ode of Mr. Pope's 

...the music composed by Edward Miller, of Doncaster 

London, printed for the author and sold at Bremmer's music 
shop in the Strand, Haxby's, York, and Wynne's, Cambridge," 
folio, circa 1765. On December 28th, 1770 a Thomas Haxby 
took out a patent for improvements in harpsichords. Haxby's 
name is also found on Violins. 

Knapton. This business was first started by S. Knap- 
ton, who near the end of the 18th century 
had a shop in Blake Street. He seems to have published 
sheet songs, one being : " Margery Topping, a favourite comic 
song, sung by Mr. Blanchard, at Cov't Garden, printed for 
S. Knapton, Blake Street, York," circa 1800. In 1823 the 
directory gives S. & P. Knapton, Coney Street. The latter is 
Phillip Knapton the well known musician who was born at 
York in 1788 and died 1833, Some time about or before 1820 
the firm was a very flourishing one, and much sheet music, 
beautifully engraved and printed, is found bearing the imprint, 
" Knapton, White, & Knapton, Coney Street, York." I do 
not know the history of the business after the death of 
Phillip Knapton. 



Scottish music Publishers. 

The Press of Scotland suffered under a most mischievous 
system of license and monopoly during a long period. This 
crippling of the press was under the plea that a printer's 
license was in the direct gift of the crown, and in the reign of 
Charles II was absolutely given to an individual for money 
lent to that impecunious monarch during his exile. As in the 
case of the Elizabethan restriction, this will account for the 
non-existence of Scottish printed music books during a time 
when we might expect them to have been produced. The 
Scottish veto was in force during a time when the English 
press was free, and it extended to all printed matter, " from a 
bible to a ballad." The first Scottish printed book was issued 
about 1509 from an Edinburgh press, and the first containing 
musical notes was probably " The Forme of Prayer " from 
the press of Lekprevik, 1564. Aberdeen may, I think, claim 



175 

to have first published secular music in Forbes' " Cantus," 
1662. Between this date and 1740 Scottish printed or 
engraved music books may be almost counted on the fingers. 
During Charles the Second's reign the Edinburgh printers, 
under the leadership of one Andrew Anderson, formerly of 
Glasgow, entered into a partnership and applied for a patent 
to be taken out in the name of Anderson, by which they were 
to be jointly vested with the office of King's printer. This 
being granted and coming eventually into the hands of Ander- 
son's widow, she exerted her protective power very severely, 
and Forbes, of Aberdeen, and others suffered imprisonment 
and fine. The printing monopoly of Mrs. Anderson received 
a slight check soon and it was declared that the royal patent 
merely applied to Bibles and Acts of Parliament. Even so 
late as 1770, Kincaid, the King's printer, brought an action to 
attempt the re-establishment of part at least of the same 
monopoly granted to Anderson. The harassing of printers 
and publishers was of course fatal to the production of musical 
works, the difficulties of printing which were far beyond those 
of ordinary typography. It is therefore not to be wondered 
at that printers were not ready to risk fine, confiscation of 
plant, or imprisonment over works which might not even pay 
the cost of production. 

Aberdeen. 

Raban, Edward. Printed one of the early Scottish 

Psalters, " The Psames of David 

in prose and metre, according to the Church of Scotland, In 

Aberdeen. Imprinted by Edward Raban for David Melville, 

1633," 8vo. 

Forbes, John. Was the the first in Scotland to pro- 
duce a book of secular music. This 
work, popularly known as " Forbes' Cantus," is said to be only 
the treble or " Cantus " portion of the work, the other volumes 
which would have completed it being prematurely stopped. 
It is the more likely, when we are aware (as before narrated) 
that Forbes was prosecuted, imprisoned, and fined, for printing, 
and so infringing the monopoly granted to Anderson then held 
by his widow. On attention being drawn to the hard case of 
Forbes and some other printers who had suffered with him, 
the Anderson monopoly was restricted to the printing of Bibles 
and Acts of Parliament. This gave Forbes an opportunity to 
issue the second or the third edition of the " Cantus." The first 
edition is dated 1662, second, 1666, and the third, 1682. 



176 

1662 Cantus ; Songs and Fancies to Three, Foure, or Five 
parts, both apt. for voices and viols, with a briefe Introduc- 
tion of Musick as is taught in the Musicke Schole of Aberdene, 
by T. D., Mr. of Musick, Aberdene, printed by Iohn Forbes, 
and are to be sold at his shop, Anno Dom. MDCLXII, 
oblong 4to. 

1666 Cantus ; Songs and Fancies. . . .with a briefe Introduction 
to Musick as is taught by Thomas Davidson, in the Musick 
School of Aberdene, second edition, corrected and enlarged 
. . 1666, oblong 4to. 

1682 Cantus; Song and Fancies .... the third edition, exactly 
corrected and enlarged, together also with several of the 
choisest Italian songs and new English ay res. .. .Aberdeen, 
printed by John Forbes, printer to the ancient city of Bon- 
Accord, 1682, oblong 4to. 

This latter edition has been reproduced in photo lithography by 
Mr. Alex Gardner, of Paisley, 1879. 

AnSfUS, A. Was a music seller in Aberdeen who is 
advertised on the title page as selling 
F. Peacock's " Fifty Favourite Scotch Airs." This work was 
undoubtedly published in 1762; not as given by Laing in 
1776. Angus & Son also sell L. Ding's "Songster's 
Favourite," circa 1785. 

Brown M. A. Published "Sacred Harmony, being 
a collection of Psalm and Hymn 
Tunes... by John Knott, teacher of singing, Aberdeen... Pub- 
lished for the author by M. A. Brown, bookseller, Broad 
Street, Aberdeen, oblong 4to ; music engraved, preface dated 
1 81 4. (Mr. A. Moffat.) 

Daniel James. Published " A Collection of Scotch 

Airs, Strathspeys, Reels adapted 

for the pianoforte, or violin and violoncello ; by a Citizen, 
Aberdeen ; Engraved, printed and published by James Daniel, 
engraver, &c," folio. 

Davie & Morris. Were music sellers in Union St. 
They published about 181 2 some 
" Fashionable and Popular Dances and Reels," in folio sheets, 
which were engraved by Johnson & Anderson, Edinburgh. 
Mr. Davie is marked as selling Donald Grant's " Collection of 
Strathspey Reels, etc." At a much later James Davie pub- 
lished " Davie's Caledonian Repository," in four oblong 4to 
books, one of which contains a valuable bibliographical list of 
of Scottish musical works. An edition of this bears the im- 
print of Wood & Co., circa 1845. 



177 

In 1788 a fortnightly periodical was started in Aberdeen 
under the title "The Aberdeen Magazine, Literary Chronicle, 
and Review." It ran upon the same lines as the " Gentleman's" 
and other similiar magazines. Each number contains a song 
set to music, which latter was printed from type. The copy 
in my own library has title page missing, so I am unable give 
the printer and publisher's name. Volume II for 1789 con- 
tains Robert Burns' song "Tarn Glen," strangely enough 
signed T. S., other of Burns' poems are also present, but 
unidentified with the poet. 

Cdinburgl). 

Early Printers. The pioneers of Scottish printing 

were Walter Chepman and Andrew 

Millar, who had a license for printing granted to them in 1507. 

Robert Lekprevik was however the first to employ music 

type in " The Forme of Prayers and Ministration of the 

Sacraments, etc., used in the English Church at Geneva 

printed at Edinburgh by Robert Lekprevik, 1565," small 8vo. 
This edition is in the Advocates Library, but another a year 
earlier, 1564, is said to be in Oxford. In 1571 Lekprevik was 
at Stirling, in 1572 at St. Andrews, and in 1573 back again in 
Edinburgh. One of his Edinburgh imprints is " Imprinted 
by Robert Lekprevik and are to be sould at his house in the 
Netherbow." Another printer in Edinburgh was T. Bassan- 
dine, who in 1575 printed the Psalms, with musical notes. 
In 1595 Henrie Chatteris printed "The Psalmes of David in 

Metre, according as they are sung in the Kirk of Scotland 

printed at Edinburgh, be Henrie Chatteris, 1595," small 8vo.; 
editions are also said to be dated 1594 and 1596. Other early 
Edinburgh Psalters were printed by Andro Hart ; one in 
161 1, and another by his heirs in 1635, etc. 

The above is a brief and confessedly imperfect note of an 
interesting portion of the history of Scotch printing. 

Anderson, John. Was a music engraver and alive 
in 1839. He served his apprentice- 
ship with James Johnson, and seems to have helped the latter 
in the arrangement of materials for the later volumes of " The 
Scots Musical Museum." Upon the death of Johnson in 
181 1, he appears to have gone into partnership with the 
widow, and from 181 1 to at least 181 3, Johnson a.ad Anderson 
were at Johnson's old shop in the Lawnmarket, and engraving 
for Edinburgh music sellers. Before 1816 (and also possibly 



178 

before his partnership with Mrs. Johnson) he, for a short 
time, seems to have been in business alone, at one 
time at 19, Picardy Place. In 181 6 he was partner 
with Walker, and Walker and Anderson remained until 
quite late. It is rather doubtful whether he or a musician 
of the same name issued the little oblong work " Anderson's 

Budget of Strathspey Reels and Country Dances printed 

for and sold by J. Anderson, Messrs. Brysson, Bank Street," 
etc. (Glen.) This work is not to be confounded with another 
Anderson's " Budget," published in Perth. 

Anderson & BryCC Printers at Edinburgh who 

printed an oblong quarto part 
" The Sacred Minstrel, a collection of original Church Tunes," 
circa 1820, type printed. 

Baillie, Alexander. One of the early Edinburgh 

music engravers. His first 
book was " Airs for the Flute, with a thorough Bass for the 
Harpsichord." In the dedication to Lady Gairles, Baillie 
says: — "The following airs having been composed by a 
gentleman for your Ladyship's use when you began to practice 
the flute a beque, I thought I could not chuse a better sub- 
ject for my first essay as an engraver of musick than these 
airs," etc., etc. This is dated Edinburgh, December, 1735, 
and signed Alex Baillie, oblong 410 (Taphouse). He also 
engraved Francis Barsanti's " Collection of old Scots Tunes, 
with the bass for the Violoncello or Harpsichord... Edinburgh, 
printed by Alexander Baillie, and sold by Messrs. Hamilton 
& Kincaid," large 4to. This, as seen by advertisements in the 
Scotch newspapers, was published in January, 1742. There 
is, in Mr. Taphouse's library, a thin folio treatise on 
Thorough Bass, by A.B., " Edinburgh, printed in the year 
MDCCXVII," the music engraved. It is suggested by 
Dr. Laing that this was by Alexander Baillie, but it is quite 
unlikely. 

Bremner, Robert. Was in business at the sign of 
the Golden Harp, opposite the 
head of Blackfriar's Wynd, some time before July nth, 
1754, as on that date and on July 15th he advertises in the 
"Edinburgh Evening Courant," to the following effect pre- 
fixed by a woodcut of a harp, "Robert Bremner, at the sign 
of the Golden Harp, opposite to the head of Blackfriers Wynd, 
Edinburgh, sells all sorts of musical instruments, viz : — Bass 
Violins, Harpsichords, and Spinets, German Flutes in ivory 



179 
ebony, or fine wood, Common Flutes of all sizes, French 
Horns, Bagpipes, Pitch-pipes, and Tabors, and all other sorts 
of wind instruments, also variety of the newest Concertos, 
Sonatas, Duets, and Solos for all instruments now in use. 
Likewise fine screw-bows, violin cases, double and single pins 
and bridges, hammers, jacks, and wire for harpsichords and 
spinets, reeds, rul'd book and paper, songs, music pens, and 
the best Roman strings, wholesale and retail. Commissions 
from the country particularly observed. N.B. — As the under- 
taker intends to serve gentlemen and ladies with everything in 
this way at the London prices, it is therefore hoped they will 
encourage him, and whatever music is wanted that he has not 
shall be immediately sent for." The above seems to imply 
that Bremner was in a good way of business, but that he had 
not long been established. He advertised freely in the 
" Evening Courant," generally with the woodcut emblem of 
the harp. Soon there was a representation of a hautboy 
added, and Bremner's sign both in Edinburgh and afterwards 
in London became the " Harp and Hautboy." The first 
mention of it I have found is in an advertisement dated 
November 30th, 1755, when he advertises in the "Courant," 
that " there is in the press a treatise upon music, revised and 

approved by the directors of the Musical Society to which 

will be added, neatly engraved on copper plates, a collection of 
the best Church Tunes, Chants, and Anthems... by Robert 
Bremner, at the sign of the Harp and Hautboy, Edinburgh." 
The publication of this work, which was his, " Rudiments of 
Music," is announced in February, 1756. The first edition 
bears this date, the 2nd, 1762, and the 3rd (published in 
London), 1763. 

After publishing numerous works Bremner removed 
higher up the High Street to the back of the Cross Well, and 
Niel Stewart, removing from his shop in the Exchange, 
appears to take Bremner's old premises, for he, on January 
24th, 1761, advertises from his " Musick shop, opposite the 
head of Blackfrier's Wynd." In or about the year 1762 
Bremner left his Edinburgh business in the hands of a 
manager and established another in London (see page 15), 
making this new one his head establishment. After his 
removal to London all his imprints bear the London address, 
the " Harp and Hautboy, opposite Somerset House, in the 
Strand." His latest Edinburgh imprint is " The Rudiments 
of Music," 2nd edition, 1762, and the first London publication 
with a date is the same work, 3rd edition, 1763. As stated in 



180 

the previous portion of this work Bremner died in 1789; and 
his Edinburgh business was afterwards carried on by John 
Brysson. The following is a list of all Bremner's Edinburgh 
publications I have seen ; the dates of many can be ascertained 
from advertisements in the Edinburgh newpapers. 

1756 The Rudiments of Music, .by Robert Bremner, printed for 
(February) the author, and sold at his music shop, the Harp and Haut- 
boy, High Street, Edinburgh, 1756, i2mo. (Second edition, 
Edinburgh, 1762). 

1756 A Collection of Airs and Marches for Two Violins, or 
German Flutes, oblong 4to. 

(Proposals for printing the above in 12 numbers, advertised April 20th ; 
No. II was published on July 24th, 1756.) 

C. 1756 A Collection of Songs, for 2 and 3 voices; price 1/-; 
advertised on " Thirty Songs," etc. 

C. 1756 A Collection of Catches, for three and four voices, by 

different authors ; price 6d Edinburgh, printed for 

R. Bremner, at his music shop, .oblong 4to ; also advertised 
on " Thirty Scots Songs." 

1757 Thirty Scots Songs, for a voice and harpsichord, the 
music taken from the most genuine sets extant, the words 
from Allan Ramsay (advertised in 1757), folio. 

C 1759 A Second Set of Scots Songs, for a voice and harpsichord. 
A companion volume to the above later, folio. 

1757 Thorough Bass made Easy. .Nicolo Pasquali, oblong folio 
(advertised as ready May 7th, 1757). 

1758 The Art of Fingering the Harpsichord. .Nicolo Pasquali, 
oblong folio (advertised as ready Nov. 23rd, 1758. Pasquali 
had resided in Edinburgh). 

1759 Freemason's Songs, folio; advertised in June, 1759. 
1759 Songs in the Gentle Shepherd; advertised August, 1759. 

McGibbon's Scots Tunes, 3 books, oblong folio. 

Adam Craig's Scots Tunes, oblong folio. 

1759 A Curious Collection of Scots Tunes, oblong folio, adver- 
tised August, 1759. 

Instructions for the Guitar, oblong 4to. 

A Collection of Scots Reels or Country Dances (in twelve 
numbers, Nos. 7 and 8 advertised in Nov. 1759; No. 10, 
January, 1761) ; oblong 410. 

A Collection of Minuets. No. 3 advertised January, 1761. 

1 761 The Harpsichord, or Spinnet Miscellany, oblong folio, 
advertised August, 1761. A second book followed later. 

Of most of the above there are later London editions, many even so 
late as Preston's time, who bought the whole of Bremner's plates and stock. 



181 

Brysson, John. He is said to have been manager at 
Bremner's Edinburgh shop at the 
back of the Cross Well, being near the head of the Old 
Assembly Close. He seems to have acquired the business on 
the death of Bremner in 1789, and after that date his name 
appears as publisher of several works and of much half-sheet 
music. The directories show that he retained the shop on the 
south side of the Cross Well up to 1807. The 1809 directory 
gives him at Bank Street. In 181 1 he was at 429, High 
Street, at the head of Bank Street, and shortly afterwards his 
address was 16, Bank Street. The business was here in 1819, 
but there is no record of it in 1821. There were others of the 
same name in Edinburgh : — George, a pianoforte maker, 
Castle Hill, in 1809, and in 181 1 a music seller in the High 
Street ; and James, a teacher of dancing at the same period. 
R. Bryson is mentioned on the imprint of Malcolm 
McDonald's " Third Collection of Strathspey Reels," circa 
I790-5- 

P. 1791 A Curious Selection of Favourite Tunes, with variations, 
to which is added Fifty Favourite Irish Airs. .. .printed for 
J. Brysson's music shop, high Street, Edinburgh, .oblong 
folio (advertised June, 1791). 

C. 1792-3 A Collection of Duetts, for two German flutes or two 
violins, .by a Society of Gentlemen. . Edinburgh, printed and 
sold by J Brysson, music seller, Cross, where may be had 
The Scots Musical Museum in 4 volumes, oblong 4to. 

The Battle of Prague. .Edinburgh, printed and sold by 
John Brysson, at his music shop, south side of Cross Well, 
folio. 

C. 1813 A Compleat Tutor for the German Flute. .. .Edinburgh, 
printed and sold at J. Brysson's music shop, No. 16, Bank 
Street.. J. Johnson, Sculp, (the address has been altered on 
the plate from an earlier one) , 

From thee Eliza, .printed and sold at J. Brysson's music 
shop, head of Bank Street, Edinburgh. 

Many other sheet and half-sheet songs. 

Clark, J. He was an engraver who published a thin 
folio collection of Scottish music entitled 
" Flores Musicae, or the Scots Musician, being a general 
collection of the most celebrated Scots Tunes, Reels, and 
Minuets... published 1st of June, 1773, by J. Clark, plate and 
and seal engraver, &c, the first forestair, below the head of 
Forrester's Wynd, Edinburgh," folio. A copy is in the 
Wighton Collection in Dundee. I know of no other work 
bearing his name, 



182 

Cooper, Richard. A music engraver who for at 
least thirty years between 1725 
and 1755 cut the plates of most of the music published in 
Scotland. His first work, that I have record of, is the scarce 
miniature volume of music for the songs in the " Tea Table 
Miscellany," published by Allan Ramsay, about 1725. No 
doubt he kept a shop for the sale of music, etc. The follow- 
ing list of works engrave J. by Cooper might perhaps be added 
to. 

C. 1724-5 Musick for Allan Ramsay's Collection of Scots Songs; 
set by Alexander Stuart, .engraved by R. Cooper, volume 
first, Edinburgh, printed and sold by Allan Ramsay, small 
oblong. 

1730 A Collection of the Choicest Scots Tunes, adapted to the 
Harpsichord or Spinnet. .by Adam Craig, Edinburgh, 1730. . 
R. Cooper, fecit., oblong folio, 

1734 A Collection of Minuets, adapted for the Violin and Bass 
viol. .. .composed by James Oswald, dancing master.. Sub- 
scriptions will be taken at Edinburgh by Mr. Cooper, 
engraver. Advertisement in the Caledonian Mercury, 
August 12th, 1734. 

1737 Twelve Solos or Sonatas, for a Violin and Violoncello, 
with a thorough bass for the Harpsichord. .. .by Charles 
Macklean. .Edinburgh, printed by R. Cooper, for the author, 
1737, folio. 

1740 Six Sonatas or Solos, for a German Flute or Violin.. com- 
posed by Wm. McGibbon. .. .Edinburgh, printed by 
R. Cooper, for the author, 1740, oblong folio. 

1742 A Collection of Scots Tunes ; some with variations for a 
Violin, Hautboy, or German Flute.... by Wm. McGibbon, 
book 1st. .Edinburgh, printed by Richard Cooper, 1742, 
oblong folio. 

Ditto, second collection, 1746; third, 1755. 

Corri. As mentioned in the London section of the 
present volume, Domenico Corri, the Italian 
musician, came to Edinburgh in 1771 and published a small 
volume of " Canzones," with the date 1772. His younger 
brother, Natale Corri, also settled in Edinburgh, and the Corri 
family by themselves, and in connection with James Suther- 
land, an Edinburgh musician, established a music business here 
and in London. The first notice I can find of a Corri firm is 
on the imprint of " A Select Collection of the most admired 
Songs, Duetts, etc., from operas of the highest esteem, in three 
books... by Domenico Corri, Edinburgh, printed for John 
Corri, and sold by him and by C. Elliot, Parliament Square," 
circa 1779, large folio, 3 volumes ; a fourth was added with the 
imprint of Corri, Dussek & Co. In 1780, the firm was Corri 



183 

& Sutherland, with a shop in North Bridge Street, and their 
names are on the imprints of many important Scotch publica- 
tions, as Peter McDonald's " Highland Airs," etc. Some- 
time about 1791-2 the firm became styled Corri & Co., and it 
formed part of the London business Corri & Dussek. Besides 
the address 37, North Bridge Street, they had another one at 
8, South St. Andrew's Street. In 1 800-1 a James Sutherland was 
a musical instrument maker at 10, St. Andrew's Square. In 
or about 1802-3 * ne Corri, Dussek firm got into difficulties 
both in Edinburgh and in London. In 1804-5, Natale Corri 
commenced as a music seller alone and had concert rooms 
near the head of Leith Walk. He remained in business here 
until after 181 9. At one time he had premises at 41, Princes 
Street. In 1822 his name has disappeared from the directory. 
Corri & Sutherland, and Corri & Co. were extensive 
publishers and issued much Scotch music, both in sheets and 
in collected form. N. Corri seemed mainly to publish 
sheet music. 

Ding, Laurence. An Edinburgh musician, who 
shortly after 1784 issued a folio 
collection of songs with their music, entitled " The Songster's 
Favourite, or a new collection containing Forty of the most 
celebrated Songs, Duetts, Trios, etc., adapted to the Voice, 
Harpsichord, or German Flute. ..by Laurence Ding, Edin- 
burgh, printed for the compiler and sold by him at Churnside, 
and Wilson's printing office," folio. In 1792 he published a 
small pocket volume named " The Beauties of Psalmody... by 
Laurence Ding... Edinburgh, printed for and sold by the 
Editor at his house, first entry within the Netherbow, 1792, 
J. Johnson, Sculp.," i2mo. After this date he appears to have 
commenced a music shop in Parliament Square. His folio 
reprint of Bremner's " Curious Collection of Scots Tunes," is 
printed for and sold by L. Ding, No. 4, Parliament Square, 
but a great deal of half-sheet vocal music has his address at 
19, Parliament Square. He was here in 1801, but I cannot 
trace him after this date. 

Kdward, Wm. He engraved "A Collection of Scots 
• Reels, or Country Dances com- 
posed by John Riddle, at Ayr, and sold by himself there ; 
likewise by Mr. Robt. Bremner, in Edinburgh, also at his 
shope, the Harp and Hautboy, opposite Sumerset House, in 
the Strand, London ; Wm. Edward, Sculpt. Dun Cameron 
prints it, Edinburgh," oblong 4to ; Dr. Laing gives the date, 
circa 1776, 



184 

Fleming, R. He appears to have been a music seller 
near Bremner's shop in the High Street 
in 1759. In the Wighton collection there is: — "Lessons in 
the practice of Singing, with an addition of the Church Tunes, 
in four parts, aud a collection of Hymns, Canons, Airs, and 
Catches... by Cornforth Gilson, teacher of music in Edinburgh 
...sold at the shop of R. Fleming, at the Cross, and by the 
booksellers in town and country, 1759," oblong 4to. The 
music is engraved. 

Gow. Niel Gow, the head of the family so far as music 
is concerned, was born in 1727 near Dunkeld. 
Having attained a good deal of distinction as a performer and 
composer of Scots violin music, he published through Messrs. 
Corri & Sutherland, his First and Second Collection of 
Strathspey Reels, the latter being issued in 1788, and the 
former a few years previously. His son, Nathaniel, having 
come to Edinburgh as a professional musician, appears to have 
undertaken the publication of the Third Collection in Edinburgh, 
while his other two sons, John and Andrew, who were music 
sellers at 60, King Street, Golden Square, undertook the 
London sale. In 1796 Nathaniel Gow entered into partner- 
ship with William Shepherd, an Edinburgh musician, and 
their first place of business was at 41, North Bridge Street, 
from whence they published many collected pieces and much 
sheet music. Before 1804 they had removed to 16, Princes 
Street, and this number is retained until 1810-11, when it is 
changed (probably by re-numbering the street) to 40. Shepherd 
having died Nathaniel Gow found himself in great monetary 
difficulties and had to make up a large sum to the executors of 
his former partner. Shortly before 1818 he however entered 
into business again with his son as " Nathaniel Gow & Son," 
at 60, Princes Street, and they carried on the trade until 1825, 
when, the son having died, he shortly afterwards was partner 
with the firm Gow & Galbraith. In 1827 bankruptcy came 
to Nathaniel Gow, and his friends advised him to advertise a 
ball for his benefit ; it realised a sum of nearly ^300. The 
ball was again repeated in three subsequent years with a like 
satisfactory result. Besides this he had a pension of ^50 a 
year from the Caledonian Club. He died in 183 1. Whatever 
causes tended to the ruin of Gow it is a fact that the profits 
from his engagement as a violinist and leader of fashionable 
dance functions must have been enormous. It is stated that 
he frequently received one hundred and one hundred and fifty 
guineas for attending a ball at Perth, Dumfries, etc. He was 



185 
appointed one of the King's trumpeters for Scotland with a 
salary of ,£70, before he was sixteen, upon his first coming 
to Edinburgh. The Gow publications include all Niel Gow's 
Collections of Strathspey Reels (after the second, and of course 
a re-publication of these), with the " Repositories," and 
many similar collections by Nathaniel Gow and others, with 
a vast quantity of sheet music, principally consisting of the 
popular dance tunes of the day, a great many of which were 
named after Gow's lady and gentleman patrons. Nathaniel 
Gow was the composer of the ever popular " Callar Herring," 
which he wrote as one of a series of pieces to illustrate the 
cries of Edinburgh. It was some twenty years after its first 
publication that Lady Nairne wrote the words of this song to 
Gow's tune. The following are some few of the Gow pub- 
lications : — 

A Third Collection of Strathspey Reels, .by Niel Gow, at 
Dunkeld. .. .Edinburgh, printed for the author and to be 
had of him at Dunkeld. .Nath Gow, Baillie Fybes Close, 
Edinburgh, John and Andrew Gow, No. 60, King's Street, 
Golden Square, London, folio. 

A Fourth Collection. .Gow & Shepherd, music sellers, 41, 
North Bridge Street. 

A Fifth Collection. .Gow & Shepherd, 16, Princes Street 
(also the second and other editions of the 1st and 2nd 
collections). 

A Complete Repository of Original Scots Slow Strathspeys 
and Dances, .by Niel Gow & Sons.. Gow & Shepherd, 41, 
North Bridge Street, folio. 

Part Second of the Complete Repository. . . .Gow & Shep- 
herd, 16, Princes Street. 

Part Third. .Same imprint. 

Part Fourth, published by the proprietor and to be had of 
Nath Gow, 2, South Hanover Street, and John Gow, 30, 
Great Marlbro' Street, London. Another later edition is 
published by Gow & Galbraith. 

A Complete Collection of Originall German Valtz....by 
Nath Gow. . Gow & Shepherd, 41, North Bridge Street, folio. 

A Collection of entirely original Strathspey Reels.... by 
Ladies resident in a remote part of the Highlands of 
Scotland. N.B. Corrected by Nath Gow. Gow & Shep- 
herd, 16, Princes Street, folio. 

A Second Collection of Strathspey Reels.... by William 
Shepherd .... Gow & Shepherd, 16, Princes Street. (The 
first was published by the author before his partnership with 
Gow, but it was republished by the firm.) 

A Complete Repository of Old and New Scotch Strathspey 
Reels and Jigs, adapted for the German Flute ..Gow & 
Shepherd, 40, Princes Street, oblong 4to. Ditto, Book II. 



186 

Several of Nath Gow's publications before he became music seller 
were issued by N. Stewart, and after his failure Alexander Robertson 
re-published the works of Neil and Nathaniel, and the additional parts 
entitled " The Beauties of Neil Gow," "The Vocal Melodies of Scotland," 
and "The Ancient Curious Collection of Scotland." 

Grant & Moil", They are notable for having first 
printed an excellent book of songs 
(with the music type printed) named "The Edinburgh Musical 
Miscellany," 8vo. The first volume is dated 1792, and the 
second, 1793. There are later editions of this work, precisely 
the same in contents; one is dated 1808. The firm's address 
was Paterson's Court. The second edition was printed by 
Mundall, Doig, & Stevenson. 

Hamilton, John. An extensive publisher of sheet 
and other music, as well as a 
writer of many Scotch songs. He was established in business 
at 24, North Bridge Street, in the last one or two years of the 
eighteenth century ; his name is in the directory for 1801. He 
had been with John Watlen, and while here had published : — 
" A Collection of Twenty Four Scots Songs, chiefly pastoral 

written [and] adapted by John Hamilton, Edinburgh, 

printed and sold by the author at Mr. Watlen's music shop, 
34, North Bridge Street," folio, circa 1796. He had also had 
single songs issued by Brysson, etc. After his commencement 
in business Hamilton's publications were very numerous, they 
include many collections of Scotch airs, and many hundred 
sheet songs. He was the chief publisher of the musical works 
of John Ross, an Aberdeen organist, who arranged many airs 
to which Hamilton had fitted words. In 1809 he lived in a 
house in Clerk's Land Bristo (his shop still being in the 
North Bridge), and here he became acquainted with the father 
of William and Robert Chambers when the Chambers' family 
had removed to Edinburgh. About the date 181 3- 14 William 
Chambers speaks of his father being friendly with John 
Hamilton, " who, drawing to the conclusion of his days, lived 
in a stair at the south end of Lothian Street, and in good 
weather might be seen creeping feebly along the walks in the 
Meadows, deriving pleasure from the sunshine to which he 
was soon to bid adieu" (Memoirs, p. 75). According to a 
notice in the Scots Magazine, he died, after a long and painful 
illness, in his 53rd year, on September 23rd, 1814. It is 
stated that he had married a lady pupil connected with an old 
family to the great indignation of her friends. 

In 1813 there was a John Hamilton, music seller, a very 
short time at 26, Princes Street, and this address is also on 



187 

sheet music. In 1819, John Hamilton was a pianoforte maker 
at 38, Libberton's Wynd. These names, no doubt, refer to a 
son of the original Hamilton. 

Some few of Hamilton's publications are : — •' A Complete 
Collection of much admired Tunes, as danced at the Balls and 
Publics of the late Mr. Strange... by John Clarkson, junior," 
folio ; "A Choice Collection of Scots Reels," oblong 4:0 ; 
"The Caledonian Museum," 3 books, oblong 4to ; "A Select 
Collection of Ancient and Modern Scottish Airs... by John 
Ross, organist, St. Paul's, Aberdeen," vol. 1, folio, etc., etc. 

Hlltton, Wm. A music engraver, who in 1810-11 
was in partnership with George 
Walker, in Foulis Close, until 1815-16. In 1816, Hutton 
had set up in business for himself at 105, High Street, and 
Walker had entered into a partnership with Anderson. In 
1819, the firm was Hutton & Balmain. Much Scottish music 
is stamped with Hutton's name. He had probably been 
apprenticed to his partner, Geo. Walker. 

Johnson, James. He was for nearly forty years the 
principal music engraver in Scot- 
land, and for a very long period practically the only one in 
Edinburgh. A list of his work, could it be compiled, would 
be almost a complete bibliography of Scottish music during 
its most interesting period. Little is absolutely known of his 
personality save that Robert Burns, the poet, held him in great 
esteem. His works prove that he must have been industrious 
to a degree, but the fact remains that his widow, at his death, 
was left in straitened circumstances, and she died in the 
workhouse. James Johnson was the son of Charles Johnson, 
and it is likely that he was born about 1750 and apprenticed 
to an Edinburgh copper plate engraver, probably to James 
Read. The earliest work of Johnson's I have seen is a small 
oblong quarto volume in my own library and I am unaware 
whether another copy exists. Its title is " Six Canzones, for 
two voices... dedicated to the Scots Ladies, by Domenico 
Corri, Edinburgh, 1772, James Johnson, Edinburgh," oblong 
4to, p.p. 14. In this or the following year he engraved 
McLean's " Scots Tunes," oblong folio, and a little later 
Daniel Dow's "Twenty Minuets"; all these, as well as some 
other early works, are cut on copper. Afterwards most or all 
Johnson's music is stamped on pewter. In the obituary notice 
of his death in the Scots Magazine, it is asserted that he was 
the inventor of this method of production, but be it remem- 
bered that this had been the usual process before Johnson was 



188 
born ; Hawkins, as early as 1776. having referred to it and 
mentioned the date 1710 in connection with its use. As 
before stated, from 1772 to the advent of George Walker, the 
engraver, that is to after 1790, practically all plate printed 
music published in Edinburgh, came from Johnson's work- 
shop. He also engraved much Glasgow music, including the 
small oblong volumes of Aird's "Selection of Scotch, English, 
Irish, and Foreign Airs." In addition to the music he must also 
have engraved the pictorial titles to the first and second 
volumes, for they bear his name. He engraved other Glasgow 
works. In 1787 he appears to be in partnership with others, 
and to have opened a music shop in the Lawnmaket, at the 
head of Lady Stair's Close and he remained here until his 
death. He had previously lived in Bell's Wynd, and while here 
commenced the publication of perhaps the only work he 
ever issued on his own account. This was " The Scots 
Musical Museum, humbly dedicated to the Catch Club, 
instituted at Edinburgh, June, 1771, by James Johnson," 8vo. 
The first volume was published on May, 1787 ; the second, 
March, 1788; the third, February, 1790; the fourth, August, 
1792; the fifth, 1797; and the sixth and last, 1803. This 
work contains six hundred airs, and, as Burns predicted, 
still forms the text book of Scottish song. Burns con- 
tributed something like one hundred and fifty traditional songs 
and airs, which he had picked up from country singers. The 
poet also wrote new words and retouched old verses for the 
work, entering enthusiastically into the production of the book. 
After Johnson's death the plates passed into the hands of 
Messrs. Blackwood, who proposed to re- issue them with a 
volume of historical notes, written by Wm. Stenhouse. This 
was begun in 1820, but from some cause the printed sheets 
remained in the publishers' warehouse until after the death of 
Stenhouse, which occurrrd in 1827. In 1839, however, the 
work came forth with some valuable bibliographical notes by 
David Laing which, on its re-publication in 1853, were further 
added to. This last edition is in four volumes including one 
volume containing Stenhouse's notes. It has been the 
fashion since Chappell's time to heap a great deal of foolish 
and unreasoning abuse on Johnson's " Museum," and on Sten- 
house's notes. The first it is contended, included a number 
of airs not of Scottish origin, and that Stenhouse wilfully made 
untrue statements. This latter accusation is absurd, but that 
Stenhouse, in his 512 pages, falls into many errors is quite 
true. We must, however, consider that eighty years ago the 
antiquarian study of popular songs was in its infancy, and that 



189 

Stenhouse was a pioneer and far removed from the great 
libraries which were then unsatisfactory for reference by 
reason of the great restrictions placed as barriers against 
consultation. The admission by Johnson of other airs besides 
Scottish may be accounted for if we consider that Johnson 
was not a musical antiquary, and that many airs, both English 
and Irish, had Scotch words set to them which might give 
them a claim. As they stand, however, up to the present 
day no student of folk music can afford to ignore either Johnson's 
" Museum," or Stenhouse's Notes. James Johnson died on 
the 26th of February, 1811. It is likely that just before his 
death he had taken into partnership John Anderson, an 
apprentice, who seems to have been of some assistance in the 
compilation of the "Museum." In the directory for 1811 
Johnson & Anderson are named as copper-plate and music 
engravers and printers, 475, High Street. In 1813 the 
address is North Gray's Close: in 1 816, Anderson, after having 
been in trade alone, has entered into partnership with Walker. 

Mackintosh, A. Another Edinburgh music engraver. 
His name does not occur very 
frequently. He engraved J. Brysson's " Curious Selection of 
Favourite Tunes," oblong folio, circa 1791, and in sheet music, 
" A New Strathspey... dedicated to Miss Barbara Campbell, 
by J. Thomson, Edinburgh, printed for the author," folio. 

Mllir, Wood & Co. Commenced business shortly 

before 1799, at which date their 
names occur as selling a publication by Charles Dibdin, ' ; The 
Lyric Remembrancer, 1799," 4-to. In 1801 they were 
musical instrument makers to his Majesty, at 16, George St., 
but in 1804 they had removed to 7, Leith Street, where they 
were until after 1809. In 1811 the address was 13, Leith 
Street, and here they remained until 1818, after which date 
the name is absent from the directories. As Messrs. Wood 
& Co., of Waterloo Place, the survival of the firm played (in 
later years) an important part in the music trade of Edin- 
burgh and Glasgow. The firm of Muir, Wood & Co. were 
very active publishers and much sheet music bear their im- 
print, having all three address. They published also some 
collections as : — Gow's " Second Collection of Strathspey 
Reels," and George Thomson's " Select Collection of Original 
Scottish Airs." In this instance Thomson's name is entirely 
suppressed, it is therefore possible the work may have been 
issued without his consent. Another one is " A Collection of 



190 

Minuets, Cotillions, Allemands...by Charles Stewart, musician 
to Mr. Strange," folio. They published also some early 
pieces by George F. Graham. 

Oliver & Boyd. The head of the firm was Thomas 
Oliver and they are well known by 
the many beautifully printed collections of songs, editions of 
Burns, etc., mainly embellished with woodcuts of the Bewick 
school. In addition to the several neat song volumes which 
bear their imprint are the following, having music 
printed from moveable type : — " The Minstrel, a choice selec- 
tion of much admired Scottish Songs... Edinburgh, Oliver & 
Co., Netherbow," i2mo; "The English Minstrel, a selection 

favourite songs with music Edinburgh, Oliver & Boyd, 

Fountain Well, High Street," i2mo, marked on first page as 
volume II. This has a frontispiece of a volunteer, and the 
outside boards have the imprint of Lane, Newman & Co., 
London." The companion volume to this is " The Scottish 
Minstrel," with the names Lane & Newman, and the date 
1807, but certainly printed by Oliver & Boyd. Another 
" Scottish " and " English " Minstrel are two volumes of the 
same size, but quite different in contents ; frontispieces, and 
engraved titles, " Edinburgh, printed and published by Oliver 
& Boyd," much later than the foregoing, the cover of one 
bearing the date 181 5. About this year, Oliver & Boyd pub- 
lished a folio volume, with type printed music, entitled " The 
Charms of Scottish Melody... Edinburgh, printed by and for 
Oliver & Boyd, Baron Grant's Close, High Street," folio, 
p.p. 102. The firm, at an earlier date, printed other works, 
which were afterwards republished by Crosby (see p. 35). In 
1816 and 1 81 8 they published the two fine volumes of "Albyn's 
Anthology," by Alexander Campbell. 

Penson, Robertson & Co. The firm consisted of 

Wm. Penson and 
Alexander Robertson, both Edinburgh musicians. In 1801, 
Alexander Robertson is described in the directory as a music 
engraver, at the head of the Luckenbooths, but in 1809 he is 
a music teacher in Libberton's Wynd. Wm. Penson was 
also a music teacher in this same year at 6, South James St. 
In 181 1 the two had conjoined and commenced business at 
47, Princes Street, where they remained in partnership until 
1819 or 1820 having also a music academy at 13, George St. 
In 1822 Alexander Robertson held the business alone and 



191 
remained at the same shop until late years (see Robertson). 
Penson & Robertson published a quantity of sheet music, 
much of which was arranged by one or other of the partners. 

Phinn, Thomas. An early Edinburgh music 
engraver, whose name is on 
Bremner's "Thirty Scots Songs," published in 1757. He 
also engraved a work mentioned by David Laing {Introduction 
to Johnson's Museum, p. cii) with the title " A Collection of Airs, 
etc., for the Violin or German Flute... taken from the best 
masters and published in six numbers... to be had at the shop 
of Thos. Phinn, engraver, Luckenbooths," oblong 4to, Laing 
gives the date circa 1776, but the book must be fifteen or 
twenty years earlier. 

Purdie, Robert. The founder of a very large and im- 
portant Edinburgh business. In 1804 
he was a teacher of music in Jollie's Close in the Cannongate, 
but in 1805 he had gone to 3, James Street, where he remained 
until 1808. In 1809 he had opened a music shop at 35, 
Princes Street, and here commenced publishing sheet music, 
The number of the premises was changed in 1813 to 71, but 
in 1816 it was No. 70. It remained thus until 1828 when it 
was changed again to 83, Princes Street, and was so up to 
1837. About this date the business was in the hands of John 
Purdie at the same address. 

Besides the great quantity of sheet music which he pub- 
lished he issued several important works, of which the chief 
is a collection of Scottish Songs in large octavo, arranged by 
R. A. Smith, and the literary contents edited and re-written 
by Lady Nairne and some other ladies. This work entitled 
"The Scotish Minstrel" extended to six volumes, the first 
three of which were reviewed in 1822. The first edition of it 
may be distinguished by the address 70, Princes Street, while 
the second, in which there are some alterations, by that of 
83, Princes Street. The third edition also has this, but it is 
from impressions of the plates worked off upon stone, and 
lacks the beauty both in the vignette title pages and in the 
music of the earlier copies. After the first publication of 
"The Scotish Minstrel," an " Irish Minstrel " was put forth 
in one volume of the same size and under the same musical 
editorship. It appeared, however, that Purdie had infringed 
on the copyright of some of the airs used by Thomas Moore 
and the first edition was suppressed. It was again re-issued 
however with certain of the plates replaced by others. In 
1827 another volume of the same size and character was pub- 



192 

lished, " Select Melodies, with appropriate words, chiefly 
original, collected and arranged by R. A. Smith," large 8vo. 
Robert and John Purdie, in conjunction with Alexander 
Robertson, re-published the Strathspeys and Reels originally 
issued by the Gow family. 

Read, James. An early music engraver, who worked 
for Bremner and Stewart. He cut for 
Bremner "A Curious Collection of Scots Tunes. ..James 
Read, Sculpt., Edinburgh," oblong folio, published in 1759, 
and for Neil Stewart, " A Collection of the newest and best 
Reels or Country Dances... James Read, Sculpt.," oblong 4to, 
published in 1761. No doubt other work of his about this 
time might be identified. 

Robertson, Daniel. A music seller with, in 1819, 

a shop at 21, South College 
Street. He published about, or a little before this date, two 
pretty miniature volumes of engraved songs and music, " A 

Selection of Scots, English, and Irish Songs Edinburgh, 

printed and sold by D. Robertson, music seller, 21, South 
College Street,', volume 1 and 2, very small quarto. I have 
not yet found any other works bearing his imprint. 

Robertson, Alexander. Was originally an en- 
graver and afterwards a 
music teacher. He was, in 1811, in partnership with Wm. 
Penson until 1819-20 (see Penson, Robertson &* Co). He still 
kept on the premises, 47, Princes Street, and 13, George 
Street, pushed forward the business with great vigour, 
and remained until late years. Later on his number in 
Princes Street had changed to 39. In addition to sheet music 
Robertson published several serial works as " Popular 
National Melodies, arranged by James Dewar," folio. Pre- 
viously he had himself arranged " The Select Melodies of 
Scotland," 4to, published by Penson & Robertson in 1814. 
On the breaking up of Nathaniel Gow's business he, along 
with Robert Purdie, seems to have acquired the copyright of 
the " Strathspey," etc. These were re-issued from freshly 
engraved plates and bore Robert & John Purdie's names in 
addition to that of Robertson. He published also the new 
collections by Nathaniel Gow entitled the " Vocal Melodies 
of Scotland," 3 parts, folio; "The Beauties of Niel Gow," 
3 parts, folio ; " The Ancient Curious Collection of Scotland," 
by Nathaniel Gow, 1823, folio; "A Select Collection of 



193 

original dances, Nath Gow," folio ; " A Collection of Airs, 
Reels, and Strathspeys, by the late Niel Gow, junior," folio, 
published 1840. Most of these were issued with the address, 
39, Princes Street. 

Rochead & Son. I n 1804, Andrew Rochead was a 
musical instrument maker at i, 
Castle Hill. In 1805, a son was in partnership and the firm 
was Rochead & Son, at Castle Hill and 4, Greenside Place. 
In 181 1, the directory gives 370, Castle Hill, and 1819 and 
1822, No. 378. In 1813, they had a shop, 14, Princes Street, this 
address is on sheet music. The name is absent from the 
directory of 1823, and the business probably ceased. Besides 
the usual amount of sheet music Rochead & Son re-published 
Urbani's " Select original Scottish Airs," in folio volumes. 
They also issued two thin folio books of " A Collection of 
original Scottish Airs... the poetry by Allan Ramsay, Burns, 
and other eminent Scotch poets," 2 books, folio, circa 1810. 

R.OSS, Robert. A music seller, who, towards the close 
of the eighteenth century, published 
many single half-sheet songs, generally Scottish, and printed 
on very thin paper. His address at this time was at the head 
of Carruber's Close. His name is found in the subscription 
lists of Scottish publications, and as selling Boyd's " Psalm 
and Hymn Tunes," 1793. It is also in the directories for 1801 
and r8o4- Mr. John Glen, in his " Scottish Dance Music," 
quotes a notice of him dated 1769; he also gives the title page 
of a Collection of Reels published by Ross, with the imprint 
" at his music shop at Fountain Well." This was issued in 
in 1780, oblong 410. 

Sibbald, James. An Edinburgh bookseller, who pub- 
lished several literary works, includ- 
ing an " Edinburgh Magazine, or Literary Miscellany," 
(volume X is for 1789). He appears to have also kept a 
music shop in Parliament Square, and from here published 
"A Collection of Catches, Canons, Glees, and Duetts, etc.... 
Antient and Modern... Edinburgh, printed for J. Sibbald, 
Parliament Square, and Messrs. Corri & Sutherland," oblong 
folio, preface dated 1780. This work was re-published by 
Longman & Broderip, and Clementi & Co., as well as by 
Nath Gow. Sibbald also issued many single half-sheet songs, 
and commenced a continuation of Stewart's " Vocal Maga- 
zine," under the title "No. 1, The Vocal Magazine, new 
series... Edinburgh, printed for J. Sibbald, Parliament Close, 
sold by J. Hamilton, North Bridge, and other music sellers" ; 



194 
one octave number with twenty songs, and the first portion 
of Holden's " Rudiments of Practical Music." The music is 
from engraved plates. This was issued about 1802. Sibbald 
is said to have died in 1803. His name is in the directory for 
1801 with the address 28, Parliament Close. 

Stewart, Charles. A printer to the University, who 
was in partnership with others 
having, in 1797, a printing house at the head of Forrester's 
Wynd. In 1809, the office was in Old Bank Close. His 
only musical work I have knowledge of is one which was 
issued in shilling monthly parts, under the title " The Vocal 
Magazine, containing a selection of the most esteemed English, 
Scots, and Irish Songs ; antient and modern . . Edinburgh, printed 
by C. Stewart & Co., 8vo. The book reached to three 
volumes, dated respectively, 1797, 1798, and 1799, and the 
music is printed from type. Part XIX, which formed the 
commencement of another volume, is dated on the cover 1800. 
The work was, however, never carried further, possibly owing 
to the changes in the firm. About 1802, another book with 
the same title was commenced by J. Sibbald ; of this I have 
seen but the first part. 

Stewart, Neil. The first notice I can find regarding 
this well known Edinburgh music 
publisher is an advertisement in the " Edinburgh Evening 
Courant," October 20th, 1759; it is to this effect : — "Neil 
Stewart, at the sign of the Violin and German Flute, in the 
Exchange, has lately arrived from London and brought down 
from the best makers a large assortment of music and musical 

instruments All sorts of instruments taken to mend." At 

the first building of the Exchange in the High Street, opposite 
the Cross, the lower frontage consisted of shops (see Arnot's 
History of Edinburgh), and Stewart appears to have been 
established here as a music seller. On January 24th, 1761, 
he advertises again, and has now removed to opposite Black- 
friar's "Wynd, possibly to Bremner's old shop, for this was the 
latter's address before he removed higher up the street, near 
the Cross. The advertisement in the " Courant " has a wood- 
cut of a lady playing a guitar prefixed, and runs : — " At Neil 
Stewart's musick shop, opposite the head of Blackfrier's 
Wynd, Edinburgh, the following instruments may be had, 

viz: — Violins at all prices McGibbon's first and second 

Collection of Scots Tunes, done on new plates and the best of 
paper, Country Dances and Minuets, with McGibbon's Col- 
lection of Country Dances and Minuets... (January 24th, 1761). 



195 

On July 27th, 1761, he again advertises: — " McGibbon's 1st, 
2nd, and 3rd Collection of Scots Tunes, neatly engraved ; A 
Collection of Scots, English, and Irish Tunes, newly collected 
for two guitars, 2/-. Two new numbers of Country Dances, 
and one of Minuets ; proposals for printing by subscription a 
collection of Marches, Airs, etc., in parts for Violins, German 
Flutes, and Hautboys, with bass for Harpsichord with an 
alphabetical dictionary of words which occur in music, 12 
numbers." It is easy to see that Stewart quickly became a 
rival to Bremner, for every publication advertised above is a 
copy or a duplicate of others by Bremner. Bremner published 
McGibbon from the old plates, while Stewart put forth a rival 
edition newly engraved. Stewart also issued a series of 
numbers of " Marches and Airs," and of " Reels and Country 
Dances," as well as of " Minuets," all in oblong quarto, and 
in the same style as Bremner's editions of similar works. 
According to Mr. Glen's " Scottish Dance Music," Stewart 
removed again to the Exchange, and, in 1770, either he or his 
son was, as " Neil Stewart, junior," at a shop in an entry 
leading to Miln's Square, facing the Tron Church. From here 
he removed to a shop in Parliament Square (or Close as it 
was indifferently called) and remained here for some time. 
Mr. Glen gives the dates from May, 1773 to 1792, and 
that of 1787 for another shop at 40, South Bridge Street. 
After 1792 to 1802 they were at 37, South Bridge Street, and 
next year at 39, South Bridge Street. The date given for 
their cessation of business is December, 1805. In the later 
portion of their career the firm was N. & M. Stewart, and 
sometimes Stewart & Co. N. & M. were probably sons of the 
original Neil Stewart, and they published the usual quantity of 
sheet music. The more important of Stewart's collections are 
as under : — 

1 76 1 A Collection of Scots Tunes, some with variations, for a 
Violin, Hautboy, or German Flute.. by William McGibbon, 
Edinburgh, printed for and sold by Neil Stewart, at his music 
shop, opposite the head of Blackfryer's Wynd, where may 
be had a variety of music and musical instruments, at the 
London price, oblong folio ; 3 books (advertised as pub- 
lished in 1761). 

1 761 -2 A Collection of the newest and best Reels, or Country 
Dances, adapted for the Violin or German Flute. . Edinburgh, 
printed for and sold by Neil Stewart, at his music shop, 
opposite Blackfrier's Wynd. .oblong 4to, 9 numbers, the first 
of which appeared in 1761. 

1761 A Collection of Scots, English, and Irish tunes, for two 
guitars, (advertised in 1761). 



196 

1761-2 A Collection of Marches and Airs, for Violins, German 
Flutes, and Hautboys . . published in twelve numbers, by 
Neil Stewart, at his music shop, opposite the head of Black- 
fryer's Wynd, Edinburgh, where may be had Mr. McGibbon's 
Scots Tunes, 3 books ; Pepusch's Airs for two Violins ; A 
Collection of Scots, English, and Irish Tunes, for the 
Guittar. Several numbers of Scots Reels and Minuets, also 
a variety of music and musical instruments, at the London 
prices ; oblong 4to. 

This Collection of Marches was advertised in the Courant, in July, 
1761, the first number being published in August of the same year. 

C. 1762 A New Collection of Scots and English Tunes, adapted to 
the guittar, with some of the best songs out of the Beggars' 
Opera and other curious ballads, printed and sold by Neil 
Steuart, at his music shop, opposite the head ot Blackfryer's 
Wynd, Edinburgh, oblong 4to. (A copy in the Wighton 
Collection- J 

C. 1763 Love in a Village, for the Guitar. 

C. 1770 A Collection of the newest and best Minuets, adapted for 
the Violin, or German Flute. . . .Edinburgh, printed for and 
sold by Neil Stewart, at his music shop, opposite the Tron 
Church, oblong 4to 

C. 1772 A Collection of Favourite Scots Tunes, with variations for 
the violin, and a bass for the violoncello and harpsichord, 
by the late Mr. Chs. McLean, and other Eminent Masters. . 
Edinburgh, printed for and sold by N. Stewart, at his music 
shop, opposite the Tron Church, .oblong folio. 

C. 1780 A Collection of Strathspey Reels, with a bass for the 
Violoncello or Harpsichord, by Alexander McGlashan, 
..Edinburgh, printed for A. McGlashan, and sold by Neil 
Stewart, at his music shop in Parliament Square, .oblong 
folio. 

C. 1781 A Collection of Scots Measures, Hornpipes, Jigs, Allmands, 
and Cotillions. .. .by Alexander McGlashan, Edinburgh, 
printed for the publisher, and sold by Neil Stewart, Parlia- 
ment Square . . oblong folio. 

C 1786 A Collection of Reels, consisting chiefly of Strathspeys, 
Athole Reels, etc, with a bass for the violoncello or harpsi- 
chord : Edinburgh, printed and sold bv N. Stewart, at his 
music shop, Parliament Square, .oblong folio. 

C. 1781-2 A Collection of Strathspey Reels, with a bass for the 
violoncello or harpsichord. .. .composed by Wm. Marshall, 
printed for Neil Stewart,, and sold at his music shop, Par- 
liament Square, Edinburgh, .oblong folio. 

C. 1780-5 A Collection of Scots Songs, adapted for a voice and 
harpsichord Edinburgh, printed and sold by Neil Stewart, 
at his shop, Parliament Square, .folio 

A Second Collection of Airs and Marches, for two violins, 
German flutes, and hautboys. .. .Edinburgh, printed and 
sold by N. Stewart, at his shop, Parliament Close, oblong 4to 



197 

C. 1780 A Collection of Catches, Canons, Glees, Duettos, etc 

Edinburgh, printed for N. Stewart. .. .Parliament Close, 
oblong 4to. (This is James Sibbald's Collection of Glees). 

C. 1795 A Third Collection of Strathspey Reels, etc.. by Neil 
Gow, at Dunkeld. .. .Edinburgh, printed and sold by 
N. & M. Stewart, music sellers, 37, South Bridge St.. .folio. 

C. 1795 Thirty Scots Songs, adapted for a voice or harpsichord, 
the words by Allan Ramsay .. Edinburgh, Book 1st, printed 
and sold by N. Stewart & Co., 37, South Bridge Street, folio. 

Ditto, a second and third book ; the first two are re-prints 
of Bremner's editions ; the third is the one issued by 
Stewart, named above. 

Of many early works named in the above list there are much later 
re-prints, with the South Bridge Street address. Some late sheet music 
has thej address, 40, S. Bridge Street, and some other 39, South Bridge 
Street. 

Sutherland, John. Was a book and music seller at 

27, Leith Street, in 1809, but 
in 181 1 and onwards, until at least 1830, his address was 9, 
Calton Street, at the head of Leith Walk. The accidental 
discovery that an apprentice was wanted here formed the 
turning point in the career of the Scotch publisher, William 
Chambers. Young Chambers was an apprentice here from 
1814 to 1819, and on his release set up business for himself in 
a small bookstall in Leith Walk. Sutherland published 
several collections of music and also a moderate quantity of 
sheet music. The following are among those of his publica- 
tions which I have seen. 

C. 1815 Guida di Musica, being a complete book of Instructions 
for Beginners on the Harpsichord or Pianoforte .. by James 
Hook. .Edinburgh, printed for and sold by John Sutherland, 
at his circulating library, book and music warehouse, Calton 
Street, .oblong folio, pictorial title. 

C. 1815 Edinburgh Repository of Music, containing the most 
select English, Scottish, and Irish Airs, Reels, Strathspeys, 
etc., arranged for the German Flute or Violin .... Edinburgh, 
printed and sold by J. Sutherland, at his book and music 
warehouse, Calton Street, 3 books, small oblong. 

C. 1815 Macleod's Collection of Airs, Marches, Waltzes, and 
Rondos, carefully arranged for two German Flutes.. Engraved 
by W. Hutton. .No. I, II, and III, Edinburgh, printed and 
sold by J. Sutherland. .Calton Street, small oblong, 3 books. 

C. 1816 Clarke's Collection of Favourite Airs, No. VI.. . .Printed 
and sold by J. Sutherland, 9, Calton Street, folio 

1818 Miniature Museum of Scotch Songs and Music, written by 
Scots Poets, .arranged for the voice and pianoforte by the 
most eminent composers. .. .Edinburgh, printed for and 
sold by John Sutherland, No. 9, Calton Street.. 2 volumes, 



198 

3 parts in each volume, small quarto. The whole is engraved 
by Walker & Anderson, and the first volume seems to have 
been published by them. The preface to the first volume in 
the original edition is dated ist April, 1818. The whole 
work was afterwards, at a very late period, re-published in 
lithography. 

Thomson, George. Perhaps he may not have very 

full claim to be classed among 
music publishers, except so far that he bore the expense and 
undertook the sale of his own Collections of Scotch, Welsh, 
and Irish Airs. 

In September, 1792, Thomson wrote to Robert Burns, 
mentioning that with a friend or two he had spent much time 
in selecting and collating the most favourite of the Scottish 
Melodies, with a view to publication ; that he had engaged 
Pleyel, whom he calls the most agreeable composer living, to 
put the accompaniments to them, and he asks Burns, where 
necessary, to write new words to the tunes at a reasonable 
charge. Burns entered into the project, but declined any pay- 
ment, an example which the musicians did not follow. Though 
Burns wrote some of his finest lyrics for the work, yet the 
arrangement of the airs by foreign composers, and Thomson's 
entire misconception of what such a book should be, makes the 
work not altogether satisfactory. The first set of t wenty five songs 
or half-a- volume was issued May ist, 1793, under the title " A 

Select Collection of Original Scotish Airs, for the Voice 

London, Preston & Son, 97, Strand, for the proprietor," folio 
(music engraved, the words of the songs type printed). The 
harmonies of this first set are by Pleyel, but owing to the 
difficulty of communicating with this musician, who was on 
the Continent during the war, the 2nd, 3rd, and 4th sets, pub- 
lished some years afterwards, are arranged by Kozeluch. 
Haydn was next employed, and then Beethoven, Bishop, and 
Hummell. The fifth volume, which, with the cantata of the 
" Jolly Beggars, completed the work, was published in 1818. 
Thomson was so constantly re-issuing and getting fresh plates 
engraved, that it is difficult to give the exact dates of the 
various editions. At quite a late date Thomson & Preston 
published the songs singly in folio, with a vignette by Stothard. 
In 1809, he commenced the publication of his Welsh series, 
which ultimately reached to three volumes (vol. 2, 181 1 ; vol. 
3, 1814). In 1814 and 1816, he published the first and the 
second volumes of his Irish Songs, with the harmonies by 
Beethoven. All these works are similar in style to the Scottish 
volumes. They are beautifully printed and engraved and 



199 
have frontispieces to each volume. In 1822, he began the 
issue of a small series in royal octavo, which included songs 
selected from all three collections; in 1825, this attained to six 
volumes, with plates by D. Allan and T. Stothard. About 
the time of the first publication of his Scottish work he issued 
a set of twelve Sonatas, arranged from Scottish Airs, for the 
violin, by Pleyel, folio. All his works are signed on the title 
page with his neat autograph. 

George Thomson, who was born in 1757, and died in 
1 85 1, formed a connecting link between the literary men of 
two generations. His daughter married George Hogarth, the 
musical writer and critic, and the daughter of Hogarth married 
Charles Dickens. There is a portrait of Thomson in the 
Scotch National Gallery, which has been twice engraved. 
The interesting correspondence between Burns and Thomson 
is in most editions of the poet's works. A volume containing 
much information concerning Thomson has recently been 
published. 

Urbani & Liston. Had a shop at 10, Princes Street, 
and were extensive Edinburgh 
music sellers, but did not publish very much on their own 
account except sheet music. Peter Urbani, the senior partner, 
was an Italian musician, who was born at Milan about 1749. 
He settled in Edinburgh about 1 776 and became one of the lead- 
ing concert musicians. He arranged several volumes of Scots 
songs and airs, in folio, the first two of which he published 
before he had entered into the music business. The title was : 

"A Selection of Scots Songs, harmonised and improved 

by Peter Urbani, professor of music. Book I : Printed for 
the author, and sold at his house, foot of Carrubber's Close," 
folio, circa 1792. Book II, with the same imprint, was pub- 
lished in 1794. Book III (which was issued in 1799) and the 
later ones, have the name of the firm, Urbani & Liston, 10, 
Princes Street. Book IV, circa 1 800-1 ; Books V and VI, 
which are dated February, 1805, completed the work. These 
six books were re-published in three volumes about 1810-12 
by Rochead & Son, from the same plates, and again by John 
Sutherland. Another publication was " A Favourite Selec- 
tion of Scots Tunes, properly arranged as duettos for two 
German flutes, or two violins, by P. Urbani," 2 books, oblong 
4to. ; this was again re-printed by Muir, Wood & Co. About 
1808-9 Urbani & Liston appear to have ceased business, 
which will account for the re-production of the above works 



200 
by other publishers. Urbani became in embarassed circum- 
stances and went to Dublin, where he died in 1816 in his 67th 
year. 

Walker, George. Had no connection with the 
London music publisher of the 
same name, but was purely a music engraver, who was in 
business in Edinburgh some time near the year 1790 ; one of 
his early works, shortly after this date, being the engraving of 
William Shepherd's " Collection of Strathspey Reels." It is 
not unlikely that he may have been an apprentice of Johnson. 
In 1801 his address was " Head of Skinner's Close," and in 
1805, at Fountain Well, where he stayed until 1809- 10. He 
now went into partnership with William Hutton, with an 
address in Foulis Close and here the partnership continued 
until 1815-16, when Hutton set up on his own account and 
Walker joined John Anderson, the former partner with Mrs. 
Johnson. Walker & Anderson were, in 1816, at 42, High St., 
where they remained up to 1828. After 1825, the firm was 
styled Walker & Co., and they were in 1829-30 at 2, North 
Bridge. Walker's name alone is attached to much Scotch 
music, and after the death of James Johnson in 1811 he and 
his partners had the entire trade of music engraving and 
printing among them. They do not ever appear to have acted 
as music sellers or publishers. 

Watlen, John. He was, as many of his title pages 
inform us, originally of the Royal 
Navy, and must have been much of an erratic genius with a 
taste for musical composition. Among his musical works are 
sonatas, concertos, descriptive works, as " The Siege of 
Toulon," etc. Some of these were published by the Edinburgh 
music sellers before his own entrance into the music business. 
In 1788 his own and his wife's name are placed in the sub- 
scripton list of Gow's " Second Collection of Strathspey 
Reels," from which it appears he was a music master and 
tuner in St. James' Square, Edinburgh. After this he was at 
17, Princes Street, from whence he published "The Celebrated 
Circus Tunes, performed at Edinburgh this season," folio. 
Another set of " Circus Tunes " was also published in numbers 
by Stewart & Co. Watlen now opened a music shop at 
13, North Bridge, and published sheet songs. " Yarrow Vale," 
his own composition, has this imprint. He, however, cannot 
have stayed more than a few months here, but removing to 34, 
North Bridge, he, during the last six or seven years of the 
century, issued many hundred sheet songs and larger publica- 



201 

tions. At one time he had a London agency with Mr. F. 
Linley, the successor to John Bland, but this was before 
Linley removed to Holborn, for his address, as given on 
Watlen's sheet songs, was 42, Penton Street, Pentonville. 
He next had a London agency at No. 1, Charlotte Row, Long 
Lane, Southwark. Watlen's business was pretty extensive, but 
towards the end of the century he seems to have fled to avoid 
arrest for debt to the sanctuary of Holyrood, and while here 
he published sheet songs, one of which is " Sandy, a favourite 
Scots song... by Robt. Burns... printed and sold by John 
Watlen, at his house, the Hermitage, Abbey Hill, where may 
be had his terms for teaching the pianoforte, singing, and 
violin, also all his musical works." His Edinburgh career 
having come to an end he removed about 1800 to London, 
where he recommenced business. (See London section.) 

Whyte, ^Afm. He was in business as a music seller 
and stationer before 1800 at 1, South 
St. Andrew's Street. After 1808, his address became No. 17 
in the same street. After 181 1 until 1825, the number was 12, 
but in 1826, Wm. Whyte & Co. removed to 13, George Street, 
where they were in 1830. Before Whyte entered into partner- 
ship he published a quantity of half-sheet Scotch songs with 
the address 1, South St. Andrew's Street, or No. 17. With 
the first named imprint he published, in 1806 and 1807, two 
volumes of a folio Collection of Scotch Songs, with the airs 
harmonised by Haydn ; it was issued as a rival to George 
Thomson's publication. 

Glasgow. 

Adams, Alexander. He printed a small volume 

named " The Musical Reposi- 
tory, a collection of favourite Scotch, English, and Irish Songs, 
set to music... Glasgow, printed by Alex Adams, for A. Carrick, 
bookseller, Saltmarket, 1799." i2mo., p.p. 278. The book is 
nicely printed, the music being from type. 

Aird, James. A Glasgow music seller, who published 
some half-sheet Scotch songs and airs, 
as "Jamie O' the Glen," "The Sow's tail to Geordie," "What 
a beau my grannie was," this latter with the address on the 
imprint, " New Wynd." His more important works are a 
Collection of Reels, in oblong 4to, " A Favourite Collection 

of Scots Tunes and Highland Airs by W. McGibbon, 

J. Oswald, and others," oblong 4to (this was afterwards re- 



202 
printed from the old plates by A. McGoun. Aird's better 
known work is " A Selection of Scotch, English, Irish and 
Foreign Airs adapted to the Fife, Violin, or German Flute... 
Glasgow, printed and sold by James Aird," small oblong, the 
above being contained on the head of a drum which forms the 
pictorial title. The second selection has a representation of 
soldiers and sailors on the title page. Mr. Glen fixes the date 
of these two selections as 1782; of the third, 1788: fourth, 
1794; fifth, 1797; and sixth much later. These volumes, 
which contain much curious matter, were re-published by 
McFadyen and by George Goulding. It is certain that Aird 
himself did not publish any after the fourth. Mr. Glen also 
gives the title of a work arranged by Joshua Campbell, and 
printed and sold by J. Aird in the Candleriggs, the date of 
of which he fixes as 1778, and has ascertained that Aird died 
in 1795. The following early trade card belongs to Mr. Arthur 
F. Hill, circa 1780, "James Aird, junior, at his shop near 
McNair's land, New Street, Glasgow, sells variety of music 
and musical instruments, viz., violins, German and common 
flutes, fifes, spinets, hautboys, pianofortes, French horns, 
clarionets, a great variety of single and double songs ; gilt and 
plain writing paper, best Dutch sealing wax and quills, Irish 
wafers, for home sale and exportation. Spinets, violins, and 
German flutes, with other musical instruments lent out per 
month or quarter." On Aird's death his plates were sold to 
McGoun and to McFadyen, who both re-printed from them. 

McFadyen, Joseph. An extensive music seller in 

Glasgow, who was established 
in Wilson Street sometime about 1790. He appears to have 
founded his business to a certain extent upon the remains of 
Aird's. He re-issued some of the latter's publications from 
the original plates, including Aird's " Selection of Scotch, 
English, Irish, and Foreign Airs"; he added to it the final fifth 
and sixth volumes. Another work, in oblong 4-to, is " The 
Repository of Scots and Irish Airs... for the harpsichord or 
pianoforte." This is the same in title with a similar work for 
the German flute published by McGoun ; it is probable that 
Aird was the original publisher, and that the plates were dis- 
posed of at his death. About 1795. McFadyen published "A 
Miscellaneous Collection of the best English and Irish Songs," 
8vo, and perhaps a little later a folio " Collection of Highland 
Strathspey Reels... dedicated to Miss Campbell... printed and 
sold by J. McFadyen, Wilson Street, Glasgow, Cahusac, 
London, and Jas. McMillan, Liverpool." These and others 



203 
were, in addition to the usual quantity of Scotch vocal music, 
in sheets and half-sheets. The latest work of his which I have 
noticed is " The Beauties of Melody. . .arranged for the German 
flute, by an Amateur, published by J. McFadyen, No. 30, 
Wilson Street, Glasgow," small oblong; two volumes, the 
second of which is after 181 7. 

McGoun, Archibald. His father, Andrew or Archi- 
bald McGoun, was a book- 
seller and a music seller in 1783, with the address, in 1787 and 
1789, — "head Stockwell." In 1799, McGoun, junior, sold 
Stewart's "Vocal Magazine," and Archibald McGoun, junior, 
ArgyleSt., appears in the directory for 1801. Like McFadyen, 
he seems to have bought some of the plates engraved for Aird 
and to have re-printed from them. Among which is " A 
Favourite Collection of Scots Tunes and Irish Airs, etc. ..by 
W. McGibbon, J. Oswald, and others, book 1st... Glasgow, 
printed and sold by A. McGoun, at his music shop, Argyle 
Street," oblong 4to. Another folio collection is " The 
Favourite Short Troop of the 1st Battalion of Breadalbane 
Fencibles...by J. H. Rose... Glasgow, printed for and sold by 
A. MacGoun, music seller and stationer, Argyle Street," circa 
1790, folio. Another, "The Repository of Scots and Irish 

Airs, Strathspey Reels, &c, for the German Flute or Fife 

printed and sold by A. McGoun, stationer and music seller, 
Glasgow, where may be had the Repository for the Harpsi- 
chord or Violin," oblong 4to. A work with the same title was 
also published by McFadyen. His name is also attached to a 
little song book, the music type printed by Oliver & Co. 
" The Songster's Favourite Companion, Glasgow, printed for 
A. McGoun, music seller, by Oliver & Co., Edinburgh," i2mo, 
circa 1810 ; there is also a good deal of half-sheet vocal music 
which has his imprint. 

Steven, Tames. The directory for 1801 gives him as 
at King Street, but shortly after this 
date his shop is 35, Wilson Street, and a large number of 
half- sheet songs about 1805-10 in date bear this address. At 
a much later date than this he published several of R. A. 
Smith's songs, including " Jessie, the Flower O'Dumblane," 
the popularity of which drew forth several direct imitations 
and piracies. 

Taylor, Joseph. Published about 1810-12 a couple 

of small oblong volumes for the 

flute, entitled " Gale's Pocket Companion, for the German 



204 

Flute or Violin... selected by the author, Glasgow, printed and 
sold by Joseph Taylor, at his music and pianoforte warehouse, 
1 8, Hutchinson Street... flutes and violins made and repaired," 
volumes i and 2. 



Paislcp. 

Blaikie, Andrew. An engraver, whose name occurs 
on the title page of " A Collection 
of Irish Airs and Jiggs, with variations... by John Murphy, 
performer on the union pipes at Eglinton Castle... engraved by 
A. Blakie, Paisley," folio, no other imprint, circa 1809-10. 
Andrew Blaikie took much interest in the antiquarian study of 
Scottish music, and at one time had in his possession at least 
a couple of manuscript volumes in tablature, with the dates 
1683 and 1692. 

Pertl)- 

Anderson, J. George Street, a music seller who pub- 
lished a few half-sheet songs at the 
close of the 1 8th century. One is, "The 111 Wife... London, 
printed for and sold by J. Anderson, music seller, George St., 
Perth. ..N.B. Just published Anderson's Flute Companion, 
volume 2; also Jenny Bawbee, with 12 variations." The 
Flute Companion above named is " Anderson's Pocket Com- 
panion of the most approved Highland Strathspeys, Country 
Dances, etc., for the German flute, fife, hautboy, and violin... 
printed and sold by J. Anderson, music seller, Perth, where 
may be had a choice collection of music and instruments," 
oblong 8vo, 2 volumes, circa 1795- 1800. 

Bowie & Hill. The senior partner was John Bowie, a 
Perth musician, who, as Mr. Glen 
points out in his " Scottish Dance Music," entered into business 
with T. Hill, in 1803, at a shop in George Street. John Bowie 
died in 181 5, but Mr. Glen quotes an advertisement showing 
that Hill continued the business alone. Bowie & Hill do not 
appear to have published very largely. One sheet in my own 
library is " Four New Tunes, for the pianoforte or violin, pub- 
lished by John Bowie, with the permission of the different 
composers, Edinburgh, printed for and sold by Bowie & Hill, 
music sellers, Perth" ; it contains a waltz, with the statement 
that it was danced on June 1st, 1803. 



'20.S 

Brown, J. He was a letterpress printer who printed a 
i2mo edition of Ramsay's " Gentle Shep- 
herd," with the music to the songs worked from type. The 
imprint is: — " At Perth, printed by J. Brown, printer to the 
Perth Antiquarian Society, Anno 1786." Another more im- 
portant work is, " The Musical Miscellany, a select collection 
of the most approved Scots, English, and Irish Songs, set to 
music, Perth, printed by J. Brown, 1786," title and frontis- 
piece engraved, 8vo. It is an excellent volume of songs, with 
the music type printed. 



Irisl) music Publisbers. 



Belfast 

Simms & Mdntyre. 2 4> Hi g h Street, published a 

curious volume, entitled : " A 
Collection of Ancient Irish Airs, adapted for the harp, violin, 
flute, and pipes, by John Mulholland, volume 1, Belfast, 
printed by Simms & Mdntyre," volume 11 is dated 1810. 

Dublin. 

Alday, Paul. Succeeded to the old established music 
business which had been carried on for 
half-a-century by the Rhames family at 16, Exchange Street. 
He acquired this about 181 1, and published sheet music. One of 
his earliest pieces to which 1 can fix a date is " Sadler's Ascent, 
a favourite waltz... dedicated to the Earl of Belvidere... Dublin, 
published by P. Alday, 16, Exchange Street." This is in 
commemoration of an unsuccessful attempt to cross the Irish 
Channel made by James Sadler, on October 1st, 181 2. The 
event produced another sheet song (probably many), "Paddy's 
Balloon." Other of Alday's pieces are several sets of Country 
Dances on half-sheets, with the imprint " published by 
P. Alday (late Rhames' musical circulating library), 16, 
Exchange Street." As appears by a notice on one of 
J. Power's sheets, Alday was possessed of the copyright of Sir 
John Stevenson's compositions, which had formerly belonged 



206 

to Rhames; these, however, he sold to Power. Before 1824, 
Alday had removed to 10, Dame Street, and here he remained 
until after 1827, still continuing to issue publications of various 
kinds. 

AttWOOd, Klizabeth. A Dublin music seller with 

the address, 4, Naussau St. 
Her stamp or engraved label is found on many publications, 
and she is named as agent for the sale of others. She was at 
the above address from before 1820 to after 1827. I have not 
discovered what work she published on her own account, 
if any. 

Allen, George. A copper plate engraver who pub- 
lished some musical works. One is 
" Cambrian Harmony, being a collection of Welsh Airs never 
before published, arranged as they were originally performed 
by the Ancient Britons... by Richard Roberts, Dublin, pub- 
lished for the author, and to be had at his residence, Carnavon," 
folio, circa 1800-10 (Taphouse). This veracious publication of 
the never before published tunes coeval with the Druids 
opens with the " King's Joy," which tune is " The King shall 
enjoy his own again " ; it contains a printed advertisement of 
George Allen's, of Smock Alley. He printed and published 
several books of sacred music. 

Browne, D. I2 > Upper Sackville Street, published 
sheet music, vocal pieces, and pianoforte 
arrangements sometime between the years 1810-15 to 1820. 

Christy, J. He published the second edition of Joseph 

C. Walker's " Historical Memoirs of the 

Irish Bards," 1818, 2 volumes, 8vo, the music is all engraved. 

Cooke, B. He was probably the Bartlett or Bartholo- 
mew Cooke, who was a noted oboe player 
and father to T. Cooke, the Irish composer. He had, about 
1790, a music business in Dublin at 4, Sackville Street, and 
from here he published a good deal of sheet music, including 
songs, country dances, and instrumental pieces. He also 
issued a pirated edition of George Thomson's Selection of 
Scots Tunes. About 1799, the business was transferred to 
Gough at the same address. 

Friendship, a new song or duet. .. .Dublin, published at 
Cooke's Music Warehouse, No. 4, Sackville Street. 
C. 1795 " The Friar " ("lama Friar of Order's Grey"); "The 
Western Sky was purpled o'er "... .Dublin, B. Cooke, at his 
pianoforte, harp, and music warehouse, No. 4, Sackville 
Street, etc. 



207 

1796 A Selection of Dances for 1796. (Culwick). 

Cooke's Selection of twenty-one favourite original Irish 
Airs (never before printed) arranged for the pianoforte, violin, 
or flute. .Dublin, published by B. Cooke, at his pianoforte, 
harp, and music warehouse, No. 4, Sackville Street, folio 
(This was afterwards republished or copied by Gough, his 
successor) . 

Cooke T. Probably the son of the foregoing, and 
apparently the same with T. S. Cooke, the 
Irish composer, who was born in Dublin in 1782 (died 1848). 
Cooke, at a remarkably early age, commenced musical com- 
position, and about 1805-10 was (in partnership with others) 
in the music trade. One piece of sheet music having their 
imprint is " Bang up, a rondo for the pianoforte, composed by 
T. Cooke, Dublin, published at T. Cooke & Co.'s music and 
musical instrument warehouse, 45, Dame Street." Their 
engraved label is also found pasted over the imprints of other 
publishers. 

Ellard. A music seller at the " Music Saloon, 27, Lower 
Sackville Street. He published some little 
sheet music and was the Dublin agent in 18 18- 19 for the 
London firm of Phillips & Mayhew, 17, Old Bond Street. 

Exshaw, E. A Dublin bookseller who, in 1740, had a 
shop on Corkhill. Forty or fifty years 
after this he or his successors published a Dublin Journal 
" Exshaw's Magazine," with which were given musical 
supplements, set up from moveable type. One of these, in my 
own library, is a song entitled " De Kilmainham Minit," and 
a dance "The Devonshire Minuet," "printed for Exshaw's 
Magazine," circa 1785. The tune of the first named is the one 
always employed for " The night before Larry was stretched," 
and the song itself is written upon similar lines. I have failed 
to find any copies of the magazine in the British Museum 
Library, but Dr. Culwick, of Dublin, mentions a copy for the 
year 1787. 

Goilgh. With the provoking habit of many Irish music 
publishers, he gives no initials or Christian 
name on his imprints. He succeeded about 1799 to the busi- 
ness which had formerly been carried on by B. Cooke, No. 4, 
Sackville Street. His publications are very coarsely engraved 
and consist in the main of half sheet songs printed on thin 
paper. At an early date he issued a pirated edition of 
Bunting's first collection, originally published by Preston in 
1796, and one of Edward Jones' " Musical and Poetical Relics 



20S 

of the Welsh Bards," (1784, 1794, 1800, etc). He printed songs 
from the opera, "Paul and Virginia" (1800), and from 
" Pizarro," by Kelly (1799); also sets of country dances in 
folio. 

C. 1800 A General Collection of the Ancient Irish Music... by 
Edward Bunting, Dublin, published by Gough, at his music 
and instrument warehouse, No. 4, Sackville Street, where 
may be had Musical Relicks of the Welsh Bards, by Edward 
Jones, price 13s. , English edition, £1 14s. i^d. Cooke's 
Selection of Irish Music ; the music of Pizzarro by Kelly., 
folio. 

C. 1800 Ackee O Ackee [in Paul and Virginia] ; Orphan Bess, (on 
this is advertised a new collection of Country Dances for 
1800) ; Magery Grinder ; Don't you remember ; and other 
half sheet songs. 

Goillding & Knevitt. This was the Dublin branch 

of the large London firm, 
Goulding, D'Almaine & Co. Knevitt seemed to have been 
exclusively engaged with the Irish part of the business and 
was probably a partner only so far as that portion was 
concerned. The Dublin shop was at 7, Westmoreland Street, 
and I first find it mentioned on the imprints about 1803. This 
was held until about 1820, when the premises were taken over 
by Isaac Willis ; the directory shows the latter here in 1824. I 
think it is likely that upon giving up the Westmoreland Street 
shop they severed their direct connection with Ireland, for I 
have found no later trace of the Goulding firm than the 
above mentioned date. 

Grierson, Boulter. He was the King's printer for 

Ireland and as such held certain 
privileges. His only musical work that I am acquainted with 
is " Trydell's Essays on Music," an early Dublin printed treatise 
on the art. The volume consists of 140 pages of letterpress, 
and a number of engraved plates of music as examples. The 
work was published in 1766, and bears the following title, with 
a diagram in the centre, " Two Essays on the theory and 
practice of Music... by the Rev. John Trydell... Dublin, printed 
for the editor by Boulter Grierson, printer to the King's most 
excellent Majesty, 1766," 8vo. 

Hill, J. He printed from moveable type a selection of 
half-sheet songs taken from the operas then 
popular. His address was No. 8, Mary Street. All the 
specimens of his work which I have seen appear to date 
between 1780 and 1790, and they are invariably printed from 
moveable type, not, as generally the case, engraved. They 



209 
were sold at threepence per song, and much resemble in 
character those issued some years before in London by 
Fought and by Falkener. Two in my own collection are : — 
" The Meadows look Chearful, sung by Miss Hitchcock in 
The Poor Soldier... Dublin, printed by J. Hill, price three- 
pence," folio ('The Poor Soldier' was acted in 1783), and 
" De Nite before Larry was Stretched, a humorous New-gate 
song, printed J. Hill, No. 8, Mary Street, Dublin," folio 
This is the well known Irish cant song. Dr. Culwick informs 
me that he has also several similar specimens of Hill's work. 

Hime, M. One of two brothers who, in their time 
were (exclusive of Scotland) probably the 
largest music publishers out of London. M. & Humphrey 
Hime first commenced with a shop in Liverpool, and the 
directory for 1790 gives the two in partnership in Castle St. 
Shortly after this date M. Hime must have removed to Dublin, 
or perhaps already at this date he had a place of business there. 
The earliest imprint of his which I have seen, and of this only 
one example, gives the address 26, Dame Street, but he cannot 
have remained any length of time here, for probably before 
1795 he was publishing extensively from his Musical Circulating 
Library, No. 34, College Green. From this address Hime 
issued a great deal of music of all kinds and was in fact by far 
the greatest of Irish music publishers. His music included 
all the popular vocal pieces from the operas then performing 
in England, and these songs were generally engraved and 
printed on half-sheet thin paper, a kind of paper very 
characteristic of Irish music sheets from the earliest to a fairly 
late date. Hime seems to have taken advantage of the law, 
or the laxity of it, regarding the re-publication of English works 
in Ireland. Before the Union of 1800 the copyright relations 
between the two countries were as unsatisfactory as they now 
are between Great Britain and America ; each of the two 
islands seems to have been free to pirate the other's work. 
Edward Bunting, although an Irishman, appears from the 
fact of his issuing his first collection of Irish airs in London, 
to have suffered considerably, for nearly every Irish music 
publisher issued a pirated copy of his work, more or less badly 
engraved. Gough, Hime, Power, and Willis are among these 
freebooters. Whether Preston, the original publisher, or 
Bunting had any redress against them I cannot say. George 
Thomson, of Edinburgh, also suffered similarly. Hime, of 
Dublin, used to supply his Liverpool brother with many of 
these cheapened works, and William Gardiner in " Music and 



210 

Friends," tells how he was thus enabled to buy, at a cheap 
rate, some of Haydn's works. Michael Kelly also in his 
"Reminiscences," mentions (vol. 2, p. 310) how he was 
subpoenaed in a law suit, commenced against Hime for pub- 
lishing a number of Kelly's compositions, and how he had, in 
1 81 3, to travel to Dublin in consequence. After being some 
time at 34, College Green, either the number is changed, or 
Hime removes to 29, College Green ; this must have been 
somewhere about the year 181 2- 13. I have been unable to 
fix the precise date of his ceasing business, probably it was 
before 1820. By far the greater number of his imprints have 
the address, 34, College Green. 

C 1795 Four Canzonets and Two Duetts, .dedicated, with permis- 
sion, to His Grace the Duke of Leinster. .composed by 
Antonio Puzzi, master of music, and composer to his Royal 
Highness the Prince Regent of Portugal. .Dublin, printed 
for the author by Hime, 26, Dame Street, folio. 

Hime's Pocket Book, for the German Flute or Violin, 
containing a great variety of the newest and favourite airs, 
duets, marches, songs, etc. .. .Dublin, published at Hime's 
Musical Circulating Library, 34, College Green.. 6 volumes, 
small oblong. (These small oblong flute or violin books 
were at one time very popular with all publishers.) 

C. 1800 Mrs. Parker's much admired Selection of Strathspeys and 
Reels, folio. 

A general Collection of Ancient Irish Music. .Bunting, 
folio. 

Hime's Selection of the most admired original Irish Airs 
never before printed. 

C 1795-6 She lives in the Valley below, Hook ; The Marriage Day ; 

to The Silver Moon; Gary Owen, a favourite dance; Little 

1813 Salley ; Werter's Sonnet; Robin Adair; etc., etc., and 

many hundred other half-sheet pieces or songs, with the 

address 34, College Green, or, at a later date, 29, College 

Green. 

Holden, Smollet. Dr. Petrie in the preface to his 
"Ancient Music of Ireland," 1855, 
mentions Smollet Holden, and refers to him as " the most 
eminent British composer of military music in his time." He 
was the father of Dr. Francis Holden, himself a musician and 
a collector of Irish folk melody. Smollet Holden kept a music 
shop at 26, Parliament Street, sometime towards the end of 
the eighteenth century. From here he issued sheet music and 
several very valuable Collections of Irish and other national 
melodies. He was also a Freemason and published a small 
folio selection of Masonic Songs. The following are some of 
his publications. 



211 

C. 1795 A Selection of Masonic Songs, arranged with choruses in 
parts, and respectfully dedicated to the brothers of the most 
honourable fraternity of free and accepted Masons, by Br. S. 
Holden,. .Dublin, published by S. Holden, at his music 
warehouse, Parliament St., 8vo. (Wighton Collection.) 

A Collection of Original Welsh Music, for the harp, piano- 
forte, flute, or violin, and dedicated to the Prince of Wales. . 
Dublin, published by S. Holden, 26, Parliament Street, folio. 
(Wighton Collection ) 

C. 1800 The Child's wish for May (sheet song, same imprint). 

Off she goes, the variations by a young lady .... (same 
imprint). 
C. 1804-6 A Collection of Old Established Irish Slow and Quick 
Tunes, arranged for the harp, pianoforte, or bagpipe.... 
selected and published by S Holden, Parliament Street, 
Dublin, 2 vols., folio. (A very interesting and valuable 
gathering of Irish music, much of which up to then unprinted.) 

A Collection of [24] Quick and Slow Marches, Troops, 
etc., for the pianoforte or hatpischord, folio. 

A Periodical Collection of Irish Melodies, folio, 

Lee. This was a family of music sellers and publishers, 
dating from a comparatively early period of the 
Irish music trade. The first of the family in this connection 
was Sam or Samuel Lee, and he was established at No. 2, 
Dame Street, probably about 1760 ; there are, at any 
rate, indications that he was publishing near the year 1767. 
I am in possession of several half-sheet songs from operas 
which were acted in that year, which sheets appear to be of a 
contemporary date. He also published half-sheet songs in a 
similar style to these from operas acted in 1773 and 1775. All 
these half-sheet pieces are beautifully engraved and cleanly 
printed on fine thin paper ; they are in very marked contrast 
to the work done by the later Dublin publishers. There is an 
interesting memory of Sam Lee in O'Keefe's " Recollections," 
vol. 1, p. 320. " The first public performer on the violin of 
an Irishman was Sam Lee, the leader of the band at Crow 
Street Theatre. He had wit and was proud. One day he 
had dined with a pleasant party of friends at Hallogan's 
Tavern, over Bally-Bough Bridge, as you enter upon the 
Strand leading to Clontarf. On their return home, having 
had some words with one of the party, he refused to walk on 
the same side of the road with him, as they were coming up 
Summer Hill, and crossing over kept on the left hand side ; 
the consequence was, he slipped down a steep place and 
received some inward hurt, of which he died. He had opened 
a music shop on Cork Hill, and afterwards had a coffee house 
in Essex Street called " Sam's Coffee-house," both much 



212 

encouraged and frequented." O'Keefe does not give the date 
of Sam Lee's death, but it must have occurred sometime near 
1776 or 1777. Michael Kelly also in his "Reminiscences," 
vol. 1, p. 8, incidentally speaks of "honest Sam Lee (father 
to Mr. Lee, who now keeps a music shop in Dublin) as being 
a celebrated violinist." Sam Lee published a great deal of 
music, and after his death was succeeded by Anne Lee, 
evidently his widow. She kept on the same shop and 
continued publishing, being, no doubt, aided by her younger 
son, Edmond Lee. She was in business at No. 2, Dame 
Street until after 1781. Meanwhile, John Lee, the elder son, 
seems, on the death of his father, to have set up on his own 
account, and was, about 1777, at 64, Dame Street, opposite 
George Lane, issuing sheet music equally well engraved with 
that of his father. About 1780 he removed to different 
premises in the same street, No. 70, at the corner of Eustace 
Street. His sheet and half-sheet songs with this imprint are 
very numerous, and many are songs in the operas then current 
in England. He was at 70, Dame Street in 1791, and doubt- 
less also some years later. 

Before 1788, Anne Lee has either died or handed over her 
shop to Edmond Lee, and the two brothers published many 
works with a mutual imprint, and others each with their 
individual one. Edmond Lee must have been the survivor of 
the two, for I find music with his name attached which must 
have been printed in the first five or six years of the 19th 
century. The Lee family, besides sheet and half-sheet song 
music, published several collections. One, which has the im- 
print of John Lee, being a collection of Carolan's Airs. I 
think it likely that this was first engraved for Sam Lee, as a 
re-publication of an earlier edition, and so possibly with regard 
to an oblong folio gathering of Jackson's Irish Tunes, which 
has Edmund Lee's imprint. 

S. Lee 

C. 1767-8 Oh, why should I sorrow, sung by Miss Catley, in 
Cymon [1767] ..published by Sam Lee, at his music shop, 
No. 2, in Dame Street, near Parliament Street. 

C. 1767-8 Oh why will you call me again, a particular favourite 
song in Cymon. .(same imprint). 

C. 1767-8 Tell me cruel Cupid, a favourite song on Love in the 
City [1767] . .(many other half-sheet songs from "Cymon," 
" The Golden Pippin " [1573], and other operas). 

C. 1775-6 The favourite song sung by Sr. Harry Muff in the last 
new opera of the Rival Candidates [1775] • -S. Lee, 2, Dame 
Street. 



213 

Anne Lee 

C. 1776 Isaac Mendoza, the Jew's song; in the new favourite opera 
of Duenna [1776] . . .published by Anne Lee, No. 2, Dame 
Street. 

The Mansion of Peace ; Three remarkable Catches ; A 
Venetian Duet, and a favourite French Air ; Sweet Poll of 
Plymouth; Tally Ho, sung by Miss Wrighton, at Vauxhall; 
The Anacreontic Song, as sung at the Crown and Anchor 
Tavern (To Anacreon in Heaven), etc., etc. . . .same imprint. 

C. 1781-2 Here in cool grot and mossy cell, the last new glee which 
gained the prize medal, composed by the late Earl of 
Mornington. . . .published by Anne Lee, in Dame St., No. 2. 

The Glee gained the prize medal of 1779, and Lord Mornington died 
in 1781. This sheet was one of many single catches and glees, published 
singly and in collections. One of the collections is: — "Anew edition of 
the Gentleman's Catch Book, being a selection of the most admired 
catches from every former production. . . .Anne Lee, No. 2, Dame Street, 
near the Royal Exchange." 

John Lee 

C. 1778 Sweep Chimney, a favourite new catch, sung at Vauxhall 
.... published by John Lee, No. 64, Dame Street; What 
bard, oh Time, sung by Louise in the new opera, The 
Duenna ; Miss Jameson's Hunting Song, sung with so much 
applause at the Rotunda ; The second new Scotch Ballad, 
introduced by Miss Catley, in Cymon, etc., etc., half-sheet 
songs (same imprint). 

C. 1780 The Favourite Scotch Rondo, sung by Miss Jameson at 
the Rotunda, 1778, composed by Hook, .published by John 
Lee, No. 70, Dame Street ; Mille Affetti, etc., etc., with a 
great quantity of other English and Foreign pieces, songs 
from operas, etc , all having same imprint, of various dates. 

C. 1791 A Smile from the Girl of my heart, sung in the Woodman 
[ 1 79 1 ] . .. .Dublin, published by John Lee, No. 70, Dame 
Street, the corner of Eustace Street. 

C. 1780 A Favourite Collection of the so much admired Irish 
Tunes, the original and genuine composition of Carolan, the 
celebrated Irish Bard, set for the harpsichord, violin, and 
German flute. . . .Dublin, published by John Lee, at his new 
music shop, the corner of Eustace Street, in Dame Street, 
No. 70. .folio, p.p. 28. 

C. 1 781 A Pocket Book for the German flute or violin, containing 
an agreeable variety of the newest and most esteemed airs, 
duets, and songs. .. .same imprint, small oblong, 4 volumes, 
contains a quick step for the year 1781. 

John and Edmond Lee 

C. 1788-9 The Branch of the Willow, in the new opera of Marian 
[1788]; Patty Clover, and other pieces from the same opera 
..published by John and Edmond Lee, Dame Street, Dublin 



214 

Haydn's 12 Celebrated Ballads. . . .published by John and 
Edmond Lee, at No. 70 and No. 2, Dame Street. (In the 
copy I have seen, Edmond 's name and address is imperfectly 
erased .) 

Edmond Lee 

C. 1790 Jackson's Celebrated Irish Tunes. .Dublin, published by 
Edmond Lee, No. 2, Dame Street, near the Royal Exchange, 
oblong folio. (Glen) 

(This was probably originally issued by Sam Lee and re- 
printed from the old plates by his son.) 

Country Dances for 1796. Culwick. 

C. 1804 E. Lee's Collection of Country Dances for the present year, 
folio, p.p. 12. 

C. 1805-6 Green grow the Rashes, a celebrated Scots song, arranged 
by Doer. Haydn. Many other half-sheet songs. 

Logiers, J. B. Johann Bernard Logiers was the son 
and grandson of German musicians. 
He was born about 1780 and came to England when he was 
ten years of age. He studied the flute and pianoforte and near 
the year 1796 married the daughter of a military bandmaster 
named Willman, following the regiment to Ireland. He thus 
became connected with military music and composed a good 
deal of this class, which (it being war time) was much in 
request. About 1814 he settled down as an organist at West- 
port in Ireland, and now turned his attention to the pianoforte 
and the best method of teaching it. He invented and 
patented (1814) an instrument which he named the " Chiro- 
plast," and by this he is now best remembered. It was a sort 
of pianoforte fetter in which the victim's wrists and fingers 
were held during practice ; the wrists were permitted to move 
sideways by a sliding motion on a rod. This drastic treatment 
was supposed to produce a correct position of the hands. The 
" chiroplast " is now dead and buried, but the instrument and 
his method of instruction at one time had its advocates. In 
1 82 1, a Major Hawker sought to give a similar result by a 
" Royal patent handmould," which, formed either of wood or 
hard leather, was affixed to the palm of each hand. 

Logier seems to have kept a music shop, at one time, in 
Dublin, at 27, Lower Sackville Street, from whence he issued 

sheet music as "The admired air of Paddy Carey Dublin, 

published at I. B. Logier's, 27, Lower Sackville Street, circa 
1 810. There are also other sheets of like character. 

McCalley, John. His address was 33, Moore Street, 

and he published sheet music from 

about 1785 onwards towards the beginning of the century. 



215 

Among others with his imprint is : — " Calipip, in the French 
opera of Tarara " ; " The New Serenade " (Arise my sleeping 
fair) ; " What though a swain of good renown," etc. 

McCullah, E. He issued " A Collection of Irish Airs 
for the flute, violin, or flageolet, 
arranged as duets or solos, 3 vols.... Dublin, published by 
E. McCullagh, 1, Royal Arcade," i2mo., circa 1820. About 
this date also there is a series of half-sheet Scottish Songs sold 
singly, but probably afterwards gathered into a volume. 

McDonnell. A music seller and occasional publisher 
at the end of the eighteenth century. 
One half-sheet song is : — " Geordie Jenkins, an admired 
original ballad, as sung by Mr. Spray, with great applause, 
composed by T. A. Geary... Dublin, published by McDonnell, 
at his pianoforte and music warehouse, No. 2, Church Lane, 
College Gn.," circa 1800. Dr. Culwick furnishes another 
imprint for the overture to the " Turnpike Gate " [1799], 
" 2, Church Lane, and 28, Nassau Street." 

McLean. A music seller and publisher of sheet music, 
etc., who, about 1810-15, kept a shop at 
No. 10, Bachelors' Walk. Besides a good deal of the ordinary 
class of sheet music he published a copy of Bunting's first 
[1796] collection with the imprint, " Dublin, published at 
McLean's Musical Circulating Library, 10, Bachelors' Walk," 
and a small flute book with the same imprint. " The 
Amateur's Companion, being a rare selection of Irish and 
Scotch Melodies, arranged in a familiar style for the pipes, 
flute, flageolet, and violin," oblong 8vo, 3 volumes. 

Mainwaring, W. An early Dublin music seller, 
with a shop in College Green. 
His name is found on the imprint of several English and 
Scottish musical publications. One of these is Bremner's 
edition of Pasquali's " Thorough Bass," Edinburgh, (1757), 
which is, by the title page, sold also by J. Walsh, and 
J. Johnson, London, and W. Mainwaring, Dublin. Among 
the books formerly belonging to the Sacred Harmonic Society, 
now in the possession of the Royal College of Music, is : — 
" The Ladies' Amusement, being a new collection of songs, 
ballads, etc., with symphonies and thorough bass, by John F. 
Lampe, Dublin, printed by James Hoey, for the author, and 
sold at Mr. Mainwaring's musick shop, in College Green, and 
at Mr. Johnson's, musick seller, in Cheapside," folio, title 
printed, music engraved. There are other works which also 
bear his name either as publisher or salesman. 



216 

Mountain, Henry. Was an Irish violinist of ability. 

His name is attached to an 
arrangement of a glee published by Elizabeth Rhames. 
There is a slight notice of him in Kelly's " Reminiscences," 
volume i, p. 8, and it appears that his son was leader of 
the band at Covent Garden, and his son's wife the well known 
vocalist, Mrs. Mountain. Henry Mountain was in business 
as a music seller towards the end of the eighteenth century at 
20, Whitefriar Street. This was about 1785 to 1790; near 
this latter date he removed to 44, Grafton Street. He pub- 
lished sheet and half-sheet songs from the operas of the 
" Highland Reel," 1788 ; " No Song, no Supper," etc., and the 
pantomime " The Hermit of the Rocks." A publication with 
the address 20, Whitefriar Street, is " The Gentleman's Catch 
Book, dedicated by permission to the Hibernian Catch Club 
by their most humble servant, Henry Mountain." 

Neale. The Neale's so far as can be ascertained, were 
the first important music publishers in Ireland, 
and much mystery surrounds them, for publications bearing 
their imprint are of the utmost rarity. Up to present I 
know definitely of but six examples — a volume in the National 
Library, Dublin, which consists of five separate works bound 
together, and a folio in my own collection. I have to thank 
Mr. Alfred Moffat, the author of " The Minstrelsy of Ireland " 
and other valuable works, for first drawing my attention to the 
former, and to Dr. Culwick, of Dublin, for interesting transcripts. 
Bunting makes mention (in the preface to the 1840 edition of his 
Irish music, p. 4,) of three Irish collections, " One by Burke 
Thumoth in 1720*, another by Neill, of Christ Church Yard 
soon after, and a third by Cardan's son, patronised by Dean 
Delany, about 1747." Petrie, in his Irish work, also appears 
to refer to the same work, for on page 150 he says that Bunting 
had passed over a certain tune of Carolan's " which appears in 
Neal's collection of the works of that composer, published in 
their author's life-time, for though that work is now of the 
most extreme rarity, I have reason to believe that a copy of it 
was in Bunting's possession." Again on p. 157, Petrie says 
" I found this air in one of the rare collections of Carolan's 
Tunes published during their author's life- time, namely, that 
of Burke Thumoth, the date of which, according to Bunting, 
is 1720." At p. 39, he again says : — " The tune has been taken 
from that very rare publication of Carolan's compositions pub- 
lished by O'Neill, of Christ Church Yard, Dublin, about the 

* Burke Thumoth's Irish, Scotch, and English Airs, in two books, octavo, 
were published by John Simpson, of Sweeting's Alley, London, 
certainly not much earlier than 1740 (probably four or five years 
later), and although there are later, yet I know of no earlier edition. 



217 

year 1721." It is pretty evident, from these extracts, that 
both Bunting and Petrie had access to a collection of 
Carolan's compositions, but it is strange that in every instance 
the spelling of the name of the publisher varies, and none of 
their spellings coincide with the one engraved on the existing 
Neale publications. Nor is any definite title vouchsafed, or 
reason for fixing the date at about 1720. As this collection (or 
collections) is frequently included in lists of early Irish musical 
publications, seemingly from no other source than from those 
above referred to, it would be of the utmost interest to 
students of Irish music to have full title and description of 
contents, should Bunting's or Petrie's copies be still in existence. 
Failing this the early publication of Carolan's tunes and the 
date of their first appearance in print must remain in a state 
of very unsatisfactory uncertainty. The volume in my own 
library is in small folio, and printed on one side of the paper 
only, its title is " The whole Musick and Songs of the second 
part of the Beggar's Opera," and the imprint : — " Dublin, 
printed and sold by John and William Neale, in Christ Church 
Yard," the music is well engraved, and clearly printed ; the 
page following the title-page gives an engraved catalogue of 
books, printed and sold by Mr. Neale. Besides the " Second part 
of the Beggar's Opera," [i.e. "Polly," 1729] , there are the 
operas " Faustus," and " Merlin." The former was acted in 
1723, and the latter, which may be " Merlin, or the Devil of 
Stonehenge," 1734, or " Merlin, or the British Inchanter and 
King Arthur," 1736, as both these were musical pieces. The 
style of the engraving of the book and the liklihood that such 
a piece as "Merlin" would lose its popularity quickly, all 
tend to point that this copy must, have been published by 
Neale some years before 1740. The five volumes in the 
Dublin library are — a book of "Country Dances"; a first 
and second collection of " Airs performed at the Theatre"; a 
collection of opera airs for the violin ; and an edition of the 
" Beggar's Opera," all in small oblong, with the imprint as 
given above, and apparently contempory in date. 

The Neales, or the successor of them, built, and opened 
on the 2nd of October, 1741, "The New Musick Hall," in 
Fishshamble Street (holding 600), where concerts were held, 
and which was afterwards used by a musical society with the 
Earl of Mornington for president. It was here that Handel's 
" Messiah," was first publicly performed. " Faulkner's Journal," 
Dec. 26th, 1741, quoted in Schcelcher's "Life of Handel," 
says : — " Last Wednesday, Mr. Handel had his first oratorios 
at Mr. Neal's Music Hall, in Fishshamble Street, to a most 



218 
grand, polite, and crowdec audience," and in the same Journal 
of the 23rd and 27th March, 1742, there is advertised "the 
first performance of the Messiah, at the Musick Hall, Fish- 
shamble Street. Tickets to be had at the Musick Hall, and 
at Mr. Neal's in Christchurch Yard." This is the latest date 
I have yet discovered for Neale, an examination of the early 
Dublin papers would no doubt reveal some interesting particu- 
lars regarding the Neales. The following are the titles of the 
above mentioned Neale publications : — 

The Whole Musick and Songs of the Second Part of the 
Beggar's Opera, sett with basses proper for the violin, 
German flute, harpsicord, or spinnet, carefully corrected 
from the London edition .... Dublin, printed and sold by 
John and William Neale, in Christ Church Yard, where may 
be had all the new peices as they come out in London. .Note : 
They have choice of English Fidles, small folio. 

A Choice Collection of Country Dances, with their proper 
tunes, whereof many never before published, and in an easier 
method to be understood than ever yet printed .... Dublin, 
printed and sold by Iohn and William Neal, in Christ 
Church Yard, small oblong. 

A Set of the most Cellebrated Airs and Playhouse Tunes 
performed at the Theatre. . . .John and William Neale, small 
oblong. 

A Second Collection (English Airs and Minuets), with 
several airs out of the late operas of Otho, Iulius Caesar, 
Vespasian, and Rodelinda. .(same imprint), small oblong. 

A Third Collection for the Violin of the newest English 
Airs and Minuets, with several of the most favourite songs 
out of the latest operas. . (same imprint), small oblong. 

The Whole Music of the Songs in the Beggar's Opera., 
(same imprint), small oblong. 

The following list of "Books, printed and sold by Mr. Neale" is 
contained in the small folio of the " Second part of the Beggar's Opera.' 

For the Violin. 

A Book of English Airs and Minuets, with directions for 
learners. 

A Book of Scotch Tunes. 

A Book of Irish Tunes. 

The Songs and Dances in Faustus. 

A Second Collection of English Airs and Minuets, with 
basses. 

The Songs and Dances in Merlin. 

A Collection of ye most Cellebrated Playhouse Tunes, 
with basses. 

A Book of ye Choicest Country Dances. 

A Third Collection of English Airs and Minuets, with 
basses. 

The Beggar's Opera. 



219 

A Colection of English Songs. 

A Colection of Scoth Songs. 

A Second Colection of Country Dances. 

The Second Part of ye Beggar's Opera. 

For the Flute. 

A Book of English Airs and Minuets, with directions for 
learners. 

A Collection of Irish and Scotch Tunes. 
A Second Collection of English Airs and Minuets. 
The Rudiments or principles of the German Flute. 
Some of the above will be recognised with those in the Dublin library. 
They each, with one exception, are priced at 2s. 8^d. 

Powell, Samuel. He was an early Dublin printer, 
who, in a book of Sacred Songs, 
employed musical notation set up in moveable type. Dr. 
Culwick, of Dublin, possesses a copy of this rare work, the 
title being : — " Cantiques Sacrez pour les principales solemnitez 
Chretiennes a Dublin chez... Samuel Powell, 1748," i2mo. 
The work was published for the use of the Huguenots then 
living in Dublin. Gilbert, in his " History of Dublin," says 
that the productions from Powell's press excel those of his 
contemporaries. He lived in Crane's Court, but in 1762 
removed to Dame Street. He died in 1772. 

Power Win. The brothers, William and James 
Power, were in business as music 
sellers at 4, Westmoreland Street in the first few years of the 
nineteenth century. In 1807 James Power removed to 
London and William Power kept on the Dublin business 
under the name, Wm. Power & Co. The brothers published 
works in common, their famous publication being Moore's 
" Irish Melodies." The imprints of the first six numbers of 
this give the two names, but in all copies of the seventh (1818), 
and onwards, I have seen, James Power is the sole publisher. 
After 1 81 7- 1 8 the London brother, James, seems to have 
severed his connections with Dublin, and it also appears from 
his name alone being present on the later impressions of the 
Melodies, that he alone held the copyright. James Power and 
afterwards his widow held the sole right of publishing musical 
settings to Thomas Moore's words. William Power's name 
as at 4, Westmoreland Street is in the Dublin Directory for 
1826-7. The following, with many other works, besides sheet 
music have his imprint. 

C. 1810 A General Collection of Ancient Irish Music. .E. Bunting, 
Dublin, published and sold at Wm. Power's music ware- 
house, 4, Westmoreland Street, .and at I. Power's music and 
instrument warehouse, 34, Strand, London, folio (re-print 
of the 1796 edition). 



220 

C\ 1812 A Selection of Scottish Melodies. .. .Words by Horace 
Twiss, Esq., folio (similar imprint). 

1817 A Selection of British Melodies with symphonies. .. .by 
Mr. Clifton, and appropriate words by John F. M. Dovaston. 
Dublin, published at W. Power's music warehouse, 4, West- 
moreland Street, and sold at J. Power's music warehouse, 34, 
Strand, folio, volume first only, dated in preface, 1817. 

Moore's Irish Melodies; first six numbers.. W. Power, 
Dublin, and James Power, London, folio. 

C. 1820 A Selection of Oriental Melodies, with symphonies and 
accompaniments, by Sir John Stevenson, Mus. Doc, and 
characteristic words by Thomas E. Power. . . .Dublin, pub- 
lished by William Power, folio. 

On the back covers of this is a list of " New Publications by 
W. Power." It includes the 7th nnmber of the Melodies, Moore's 
" National Airs," and his " Sacred Songs," all of which, so far as I have 
seen, bear the imprint of James Power solely : it is possible that William 
simply sold them. 

RhameS. Like the Lee's, they were another family of 
Dublin music sellers during the latter half 
of the eighteenth century. Benjamin Rhames was established 
at the sign of the "Sun," at 16, Upper Blind Quary," about 
or before 1770. He published half-sheet music and was 
succeeded in the business by his widow, Elizabeth, before 1775, 
at the same address. She issued sheet and half-sheet music in 
the same style and at the same address, but later her address 
stands as 16, Exchange Street. Gilbert's "Dublin" tells us, 
however, that about 1776, Upper Blind Quay, in consequence 
of its evil repute, had its name altered to Exchange Street. 
Elizabeth Rhames was succeeded by her son, Francis Rhames, 
probably near the year 1790-5, and about the year 1811 Paul 
Alday took over the business and premises. 

Benjamin Rhames 

C. 1770-5 The Morning Fresh, set for the harpsichord. .. .Dublin, 
published and sold by Benjamin Rhames, at the Sun, on the 
Upper Blind Quay, folio half-sheet. 

A Favourite Hunting Song.. (Let the Slave of Ambition), 
by T. Giordani. . (same imprint) . .and other half-sheet songs, 

Elizabeth Rhames 
C, 1775-6 Alas 'tis in vain. .Dublin, printed by Elizabeth Rhames. 
No. 16, Upper Blind Quay, where she means to carry on the 
music business. 

C. 1777 A Song in the new Comedy of the School for Scandal 
(Here's to the maiden of lovely fifteen) ; also other sheet and 
half-sheet songs from the operas :■ — " Fair American " (1782) ; 
"Robin Hood" (1784); "Marian" (1788), etc., with the 
imprint and address 16, Exchange Street. 



221 

C. 177S Sr Hugh P r, or the accuser defeated by his own 

evidence, a half-sheet song relating to the accusation of 
Admiral Keppel by Sir Hugh Palliser in 1778. Songs on the 
same subject were printed by several other music publishers. 
To fill up the present sheet, has it Jackson's "Morning 
Brush," arranged as a Country Dance. Other half-sheets are 
various glees. 

C. 1780 Twelve Canzonets ...composed and dedicated to Mrs. 
Pitt by J. A. Stevenson, M.D., opera 4.... Dublin, printed 
foi the author by E. Rhames, at her musical circulating 
library, 16, Exchange Street, oblong folio. 

F. Rhames published sheet music and a series of country dances on 
folio half-sheets, circa 1805. 

Rice, John. A publisher of half-sheet songs printed 
on the usual thin paper most Dublin pub- 
lisher affected. His first address was probably No. 13, Dame 
Street, but in 1778 he was at 53, Dame Street, and at a later 
date at 5, College Green. The following are some half-sheet 
songs with his imprint. 

C. 1775 The Country Cousin ; (My Cousin from the Country 
came).. I. Rice, No. 13, Dame Street. 

C. 1778 The Seige of Gibralter, a favourite new song [1778].... 
John Rice, 53, Dame Street. 

By my sighs ; Come Hope thou Queen of endless sighs 
The admired song of Nothing at all ; How d'ye do ; and other 
half-sheet songs (same imprint). 

C. 1781-5 Come, come my jolly lads, in Robinson Crusoe [1781].. 
John Rice, harpsichord and pianoforte maker, No. 5, 
College Green. 

Southwell, J. His address about 1800 was 17, Earl 
Street. He published sheet music, 
among which is " Life let us cherish, a favourite ballad, com- 
posed by W. A. Mozart... Dublin, published by J. Southwell, 
at the pianoforte and music warehouse, No. 17, Earl Street, 
near Sackville Street. 

Stokes, Joshua. A music seller in the latter part of 
the eighteenth century, with a shop 
in Dame Street, opposite Eustace Street. This may have 
been the shop afterwards taken by John Lee, then No. 70, for 
the numbering of Dame Street seems to have undergone 
several changes. Some of Stoke's half-sheet songs are : — 

C. 1780 Castle Berry, composed by C. Dibdin, sung by Mr. Ban- 
nister in the Metamorphoses [1776]. .Dublin, Joshua Stokes, 
Dame Street, opposite Eustace Street, No. 24. 

C. 1781-2 Rise beauteous flower.. sung by Mrs. Johnston in the 
Lord of the Manor [1781]. .same imprint. 



222 

C. 1781 What Posies and Roses, .sung in the Agreeable Surprise 
[1781]. .Joshua Stokes, 13, Dame Street. 

The Lover's Toast ; O Nanny wilt thou fly from me ; Say 
Shepherd have you seen my fair ; The Monstrous good song 
sung by Miss Palmer at the Rotunda; The Killmain 
Volunteer, etc., imprints, Joshua Stokes, 24, Dame Street. 

Walker. Published near the end of the 18th century, 
" The Hibernian Magazine" ; with this were 
given musical supplements printed from moveable type — 
songs, country dances, etc. 

White, Luke. He was the printer of the first edition 
of the well known work " Historical 
Memoirs of the Irish Bards, by Joseph C. Walker... Dublin, 
printed for the author by Luke White, No. 86, Dame Street, 
1786," quarto. This work contains engraved musical plates ; 
it was re-published in 2 volumes, octavo, in 181 8. 

Willis, Isaac. A music seller and publisher who 
took, about 1820, the premises 7, 
Westmoreland Street, which had been formerly held by 
Goulding & Knevitt. He rapidly developed a large business, 
and had an agent in London for his trade there. About 1825 
he removed to London and with partners under the name 
Willis & Co., did a large business, still keeping on his 
Dublin premises. While in Dublin he published a great 
quantity of the usual sheet music and several books of songs 
by T. Haynes Bayly. One of these works is " Miniature 
Lyrics, the poetry by Thos. Haynes Bayly, the airs composed 

or selected by Sir J. Stevenson Dublin, published by 

I. Willis, music seller and pianoforte maker to the King," 
oblong folio, volume 1, preface dated 1823. Volume 11 followed 
next year, and volume in, probably in 1825, was published 
with the London address. (See London Section), 

Wogan, P. Dr. Culwick favours me with the title of 
the following work in his library, " High 
Mass and Solemn Vespers, as sung in most of the different 
Roman Catholic Chapels throughout the United Kingdom, 2nd 
edition... Dublin, printed by P. Wogan, No. 15, Lower 
Ormond Quay." 



223 

%* Since the foregoing sheets have been worked off the following 
additional matter has come to hand, or found to have been accidentally 
omitted : — 

Condon. 

Alderman, Rd. A music engraver whose name is attached 
to " Six Concertos for the organ or harpsichord, by Thomas 
Saunders Dupuis, London, for the author," folio, circa 1760. 

Alexander, James. A music engraver whose name is 
found on sheet music. He was possibly the same with a 
well known flute player. In 1822 and later he was at 101, 
Leadenhall Street, from here he published a pretty miniature 
volume " Sacred Melodies for the flute, violin, flageolet, or 
Kent bugle... London, published and sold by J. Alexander, 
101, Leadenhall Street," circa 1830, also "The Flowers of 
Emerald Isle," in 8 numbers, small square quarto. 

Andrews, H. Some French vocal pieces have the imprint 
" printed for H. Andrews, at the musical library, 129, New 
Bond Street," circa 1790, this confirms the suggestion that he 
was partner with Birchall, for 129, New Bond Street was the 
latter's address. 

Baker, Thos. A music engraver who engraved " Elegies 
Songs and an Ode" by Edward Miller, circa 1765, and 
Francis Peacock's " Fifty favourite Scotch Airs," circa 1762. 

Bates, T. C. After being in St. John's Square he was at 
18, Holywell Street, Strand, in 1822. He was afterwards (in 
1824) in partnership with G. Longman (Longman & Bates), 
at 6, Ludgate Hill. They both entered into the firm of 
Chappell. 

Blackman. W. Blackman was followed by J. & S. Black- 
man, musical instrument manufacturers, 5, Bridge Street, 
South wark, this was about 1845. About five years later the 
address was 93, Blackfriar's Road. 

Bland, John. He also issued some musical portraits well 
engraved. Three are: — J. P. Salomon, dated Dec. 12th, 1792 ; 
I. Pleyel, 1793, and W. Cramer, 1794. 

Bond, J. 64, Dean Street, Soho, is mentioned in the 
directory for 1822 as a music seller and publisher. 

Branston, R. He engraved " Six Select Songs and one 
Cantata, by James Newton. ..John Johnston, opposite Lan- 
caster Court, in the Strand, near Charing Cross," folio circa 



224 
1774- This address appears as that belonging to Branston on 
another portion of the same work. In 1820-30 there was a 
wood engraver with the same name and initial. 

Bressan. An advertisement of 1724 runs : — " This day is 
published Sonatas for a Flute, or Violin and Bass... Composed 
by Sig. Barsanti, printed for the author and sold by Mr. 
Bressan, musical instrument maker, at the Green door, in 
Somerset House Yard, in the Strand, price 5s. 

Bride, Richard. He succeeded to H. Waylett's business 
in Exeter Change. One piece of sheet music has the imprint 
"printed for Richard Bride, at the Black Lyon, in Exeter 
Change," circa 1765-70. 

Brome, Henry. Was succeeded by Charles Brome at 
the sign of the Gun, in St. Paul's Church Yard, who printed 
" Tully's Offices," in 1684. 

Buck, Thomas & John. Printed an edition of Sternhold 
and Hopkin's " Psalmes, with apt notes to sing them withal," 
1630. 

Buckinger, J. Published sheet music at his musical 
instrument manufactory, 443, Strand ; his name is in the 
directories for 1802 and 1807. 

Butts, Thomas. Printed " Harmonia Sacra, or a choice 

collection of Psalm Tunes, etc in two and three parts 

oblong 4to... printed for Thos. Butts, Ratcliffe Row," no date. 

Caulfield. A sheet of music, taken probably from a lady's 
magazine, circa 1805, gives '• Engraved by Caulfield, 436, 
Strand." 

Chappell, Saml., & Co. Their names at 50, New Bond 
Street are on the covers of Eraser's " Highland Airs," dated 
1 816, and also in the directory, 1822. 

Clare Court. Some sheet music, circa 1815-20, has the 
imprint: — " London, printed and sold at No. 1, Clare Court, 
Drury Lane." 

Cluer, J. His Pocket Companion for Gentlemen and 
Ladies, is advertised as " this day published," in 1724, and the 
" New Musical Cards for the violin, hautboy, and flute," in 
1725. His initial was J. not T. 

Cobb, Thomas. He was probably the engraver employed 
by j. Cluer for the beautifully cut music plates which bear 
the latter's imprint. " Cobb, Sculp." is on the charming 
frontispiece to Cluer's " Pocket Companion," 1724. 



225 

Cross, Thomas. There is mentioned in a " Catalogue of 
Books, printed and published in London in Trinity term, 
1697," " Military music, or the art of playing on the Hautbois 
explained... printed for Thomas Crosse, in Katharine-weel 
Court, on Snow Hill, and sold at musick shops." Cross, also 
with this imprint, published a Collection of Songs, set to music 
by Purcell and Eccles, " printed and sold by Thos. Cross, in 
Katherine Wheel Court, near Holborn Conduit," folio. 

Cullen, John. Printed and published " The Compleat 
Dancing Master's Companion, containing the Marlborough, 

Mr. Isaack's new dance, set by Mr. Paisible, and others 

danced at Court on her Majesty's birthday, 1705. The third 
book... London, printed by Wm. Pearson, and sold by John 
Cullen, at the Buck, between the two Temple Gates, Fleet 
Street, and Humfrey Saulter, at the Lute, in St. Paul's 
Chtrch Yard," oblong Svo. 

Dover, Wm. Was in 1S22 at 6, Newman Row, Lincoln 
Inn Fields. 

Este, Thomas. He printed W. Bathe's " Introduction 
to the Skill of Song." Hawkin's mentions this work as a 
later edition of the same author's " Brief Introduction to the 
true art of musick, 1584." The former work was printed 
without a date. A copy was sold at Rimbault's sale for 
£3 12s. od. 

Ewer & Co. During the forties ( 1848, etc.) they were at 
72, Newgate Street. 

Fitzwilliam, J. & Co. No. 8. New Street, Covent 
Garden, published sheet music about 1 820-1. 

Freeman, James. 5, Little Warwick Street, Charing 
Cross, printed and sold "Six Sonatas for the pianoforte or harp- 
sichord," by John C. Bach, circa 1775-80. 

Galloway, D. Published " Rondos and Airs, with varia- 
tions, by L. Dussek... printed and sold by D. Galloway, at his 
intrument warehouse, 37, Great Pulteney Street, where may 
be had a select variety of modern music," folio, circa 1805. 

Galloway, Wm. 21, Welbeck Street, published sheet 
music in 1822-24, e t c - 

Gawler, Wm. Was an organist, and in 1785 published 
" The Hymns and Psalms used at the Asylum, or House of 
Refuge, printed for W. Gawler, organist to the Asylum " ; 
frontispiece dated October 24th, 1785, large 8vo. A supple- 
ment is printed for William Gawler, Lambeth Butts. 



226 

Green, John. 33, Soho Square, a publisher or agent in 
1822-24, etc - 

Halliday & Co. 23, Bishopgate Street, were here in 1822. 

Hannam, H. 4, London Road, was here in 1822. 

Hare, John. Had a music shop as early as 1696, see 
Page 135- 

Hedgebutt, John. A bookseller, for whom Heptinstall 
printed one or more musical works. 

Hole, Wm. & Robert. An edition of "Parthenia" was 
re-printed from the original plates in 161 3 ; others followed in 
1635, 1650, 1659, and a second part >n r689- 

Hunt, Richard. In the new edition of Pepy's Diary, 
edited by Mr. Wheatley, there are several references to him. 
On October 25th, 1661, Pepys, who had kft his lute at Mr. 
Hunt's to be mended, called there. Three days later, he went to 
Paul's Churchyard to Hunt's and found his theorbo done. 
Hunt is again referred to on April 17, 1663, and on August 
20th and 21st of the same year. 

Jeffes, Abel. " Dwelling in Sermon Lane, neere Paules 
Chaine," printed in 1584 "A Brief Introduction to the true 
art of Musickc.by William Bathe, oblong 4to (see Hawkins, 
p. 356, vol. 3). 

Johnson, Mrs. of Cheapside. Her name and initial was 
R. Johnson, and she published in 1766 Charles Avison's 
" Twelve Concertos." 

Jones, Edward. Was the piinter employed by Henry 
Playford after the death of his brother. His printing office 
was in the Savoy and he worked off Harmonia Sacra, 1688- 
1693; Apollo's Banquet, 1690, 1693, etc. An Edward Jones 
is mentioned in Mace's " Musick's Monument," 1676, as 
possessing a valuable lute. 

Jones, C. " All the tunes in the Beggar's Opera, trans- 
posed into easy and proper keys for the guittar... London, 
printed for C. Jones, opposite Staples Inn, near Holbourn 
Barrs, where may be had all sorts of musicke and musical 
instruments, both new and second-hand, at the lowest prices," 
circa 1760, 8vo. (Wighton library.) 

Kitchen, T., engraved "The Land of Cakes, book 1st, Six 
Songs, set to musick in the true Scots taste, to which is added 
the Tears of Scotland... London, printed for R. Williams, 
T. Kitchen, Sculpt," folio, Laing's list. 



227 
Linley, F. His prior address was 42, Penton Street, 
Pentonville ; he was agent for John W'atlen. 

Magazines. Add : " The Christian Magazine," music cut 
on wood, circa 1760-70; and "The Ladies' Monthly Museum, 
or Polite Repository," Dean & Munday ; volume xx is for 
1824, — type printed music. 

Major, Samuel. 35, Duke Street, Smithrield, as a music 
publisher in the directory for 1822. 

Mears, Richard. For extended account see pages 138-9. 

Miller, John. "At the signe of the Yiolen, on London 
Bridge," was a music and instrument seller, who before 1 71 1 
was succeeded by his wife Elizabeth Miller. Mr. Arthur F. 
Hill has possession of two very interesting trade cards of 
theirs, the later one has "John" erased and "Elizabeth" 
substituted. " Mrs. Miller, on London Bridge" is marked on 
the title page as selling "The Violin Master Improved," 
dated 171 1, and another work of about the same period. 

Millhouse, Wm. 337, Oxford Street, published sheet 
music and was a musical imstrument maker here in 1802 to 
circa 1820. 

Monzani. Both father and son were celebrated flute 
players, as well as flute makers. Monzani & Hill were at 28, 
Regent Street in 1821. 

Newland & Johnston. 36, Southampton Bow, published 
sheet music, circa 1818-20. 

Pearson, Wm. He gave place to his son in 1736 ; for in 
that year A. Pearson printed " A Compleat Melody, or the 
Harmony of Sion, A. Pearson, for J. Hodges, at the Looking 
Glass on London Bridge, 1736," oblong 8vo. 

Peregine, Charles. Printed for Henry Playford the 
eleventh edition of " Introduction to the Skdl of Musick," 

1687. 

Playford, John. The following are additional notes of his 
editions: — " Dancing Master," 14th edition is dated 1709, not 
1 71 1, there is a copy in the Wighton Collection. There is a 
copy of " New Lessons for the Cithren and Gittern," dated 
1652, oblong 8vo in the Euing Library, Glasgow. The first 
edition of " A Breefe Introduction to the Skill of Music," 
dated 1654, was sold at Rimbault's sale for £10 10s. od. 
" Apollo's Banquet," 1st edition, 1669; 5th, 1687; 6th, 1690; 
7th, 1693 i 9^h, 1720. " Second Book of the Musical 



228 
Companion," 1686; 2nd, 1687; 4th, 1701 ; 5th, 1707; 9th, 
1726. " The whole Book of Psalms," 8vo, 1677; and, 1695; 
3rd, 1697; 4th, 1698; 5II), 1099; 6th, 1700; 7th, 1701 ; 8th, 
1702; 9th, 1707; 12th, 1713; 13th, 1 715 ; 15th, 1719; 16th, 
1722; 17th, 1724; 19th, 1738; 20th (with additions by 
J. Fox), 1757' " Several New Songs, set to as many new 
tunes, by Thos. D'Urfey, Gent., 1684," folio. 

Py per, John. The following is a fuller title " Parthenia 
Inviolata, or Mayden Musicke for the Virginalls and Bass 
Viol, selected out of the compositions of the most famous in 
that ait, by Robert Hole... Printed at London for John Pyper, 
and are to be sold at his shoppe at Paul's Gate, next into 
Cheapside at the Cross Keies," oblong 4to, no date, engraved 
on copper, circa 1614. A copy supposed to be unique was sold 
at Rimbault's sale for £j 7s. od. See also Notes and Queries, 
December nth, 1869. 

Rolfe, Wm. He, with Samuel Davis, took out a patent 
for improvements in pianofortes, Jan. 31st, 1797. (Briits- 
viead's Hist. Pianoforte.) 

Shade, G. had also a shop at 1, Parliament Street in 
Dublin. 

Wright, E. There is in existence a very richly engraved 
trade card, " E. Wright, at her music shop under St. Dun- 
stan's Church, Fleet Street, makes and sells all sorts of musical 
instruments, music books, ruled paper, reeds, wire, and the 
best Roman strings, wholesale and retail. N.B. Guittar and 
Violin taught at home and abroad," circa 1740. She probably 
published music. 

Wright, Daniel, senior. Hawkins gives him a bad 
character, thus : — " Greene had given some early specimens of 
his abilities in the composition of a set of lessons for the harp- 
sichord, which he had probably meant to publish, but a copy 
having been surreptitiously obtained by one Daniel Wright, 
a seller of music and musical instruments, near Furnival's 
Inn, who never printed anything that he did not steal, they 
were published by him in so very incorrect a manner that the 
doctor was necessitated to declare that they were not his com- 
positions, and Wright, no less falsely than impudently, asserted 
in the public papers that they were." (Hawkins, volume v, 
P^e 343-) 

Young, James. " Choice Psalms put into Musick, for 
three voices, the most of which may be properly enough sung 
by any three, with a thorough bass, composed by 'Henry and 



229 
William Lawes, brothers, servants to his majesty... London, 
printed by James Young, for Humphrey Mosely, at Princes 
Armes, in S. Paul's Church Yard, and for Richard Wodenothe 
at the Star under S. Peter's Church, in Cornhill, 1648," 4to, 
type printed. (British Museum.) 

Howell. Bristol. He lived in St. John's Street about 
1790. 

Stourport. 

Nicholson, George. In 1799 George Nicholson was at 
Ludlow. In 1 801-2 at Poughmill, near Ludlow, from which 
places he issued many daintily printed volumes of ballads, 
songs, etc., generally illustrated with charming engravings 
and woodcuts of the Bewick School. About 1810 he was at 
Stourport, and there published " The British Orpheus, being a 
selection of two hundred and seventy songs." 

Dublin. 

Thornton, Robert. Mr. E. R. McClintock Dix, of 
Dublin, kindly forwards me a discover}- he has just made 
which brings music engraving and publishing to an early date 
in Dublin. In the Marsh Library, St. Patrick's, Dublin, 
there is a tract : — " Copies of Two Papers written by the late 
King Charles II,'' printed by Joseph Ray, and dated 1686. 
It has two titlepages identical with each other and between 
these is a bookseller's advertisement, of which the following is 
a portion : — 

" Books printed for and sold by Robert Thornton, book- 
seller, at the sign of the Leather Bottle, in Skinner Row 

The Choicest New Songs, with Musical Notes, either for 
voice or instrument, fairly engraven on copper plates, will 
be constantly printed and sold at Twopence. A song by the 
said Robert Thornton." 

The above implies that the popular half-sheet song, such as 
Thomas Cross engraved, was not unknown in Dublin in the 
latter part of the seventeenth century and also that music 
engraving was practiced in that city. The Robert Thornton 
above named first appears as a bookseller, but later, in 1691-2, 
he was also a printer. 

Neale. Mr. Wm. H. Grattan Plood (M.R.I. A.), informs 
me that he has some remembrance of an edition of Allan 
Ramsay's " Tea Table Miscellany," with engraved music 
dated 1729 published by the Neale family. This may be a 
Dublin re-print of the work mentioned at page 182. 



230 

Instead of a pill imprint the London publishers (especially on 
half-sheet music) frequently merely stamped their initials on the lower 
portion of the plate, as under : — 
IJB John Bland. 

R.Br. Robert Bremner. 

Rd. Be. Richard Bride. 

I.D. Joseph Dale. 

P E P. Evans. 

Ino F ] 

1: F: r John Fentum. 

I F— m J 

J£ a p m Catherine Fentum. 

P.H P- Hodgson. 

John Johnston. 
L. B I Longman & Broderip. 

L&B } 

L L & B Longman, Lukey, & Broderip. 

"W N William Napier. 

A P A. Portal. 

T p John Preston. 

W R Wm. Randall. 

I R John Rutherford. 

Sk : T. Skillern. 

G S George Smart. 

St : T. Straight. 

St : & Sk Straight & Skillern. 

C # S Charles & Samuel Thompson. 

c^p Samuel, Ann, & Peter Thompson. 

Vq J.&G. Vogler. 

p ^y Peter Welcker. 



M W 



Maurice \\ hitaker. 



Finis. 



231 

ERR A TA 

Page 6 — "Pathway to Musicke," 1596, not 1599. 

,, 8 — Bew's "Vocal Music" not dated; one edition adver- 
tised in 1 781 as just published. 
8, line 31 — For " Mickry," read Mimickry. 
28 — For T. Cluer, read J. Cluer. 
30— Cobb & Watlen. Motetts, by S. Webbe, is dated 

1792, not 1772. 
46, line 2 — For Titchbourne, read Tichbourne. 
48 — Forster. For gun stock, read gun stocks. 
71 — Lewer. Amaryllis, 1746, not 1749. 
73, line 31 — For Johnson, read Johnston. 
78, line 9 — For 1819, read 1719. 
78, line 14 — For Heptingstall, read Heptinstall. 

85, line 4 from bottom (in some copies only) — For Del 
Figlio, read Dottel Figlio. 

86, line 5 from bottom — For Yard, read Church Yard. 
97 — 14th edition of Dancing Master, 1709, not 171 1. 
169 — Sibbald. 3rd line down should read: "The only 

work which I have seen bearing his imprint," 

etc., etc. 
214 — Logiers should be Logier. 
215 — McCullah should be McCullagh. 



Leeds : Printed by Leathley & Angus, Wade Street 
Entered at Stationers' Hall. 



BOOKS on MUSIC and the VIOLIN 

For Sale by 

W. E. HILL & SONS, 

Her Majesty's Violin Makers, 

140, New Bond Street, London, W. 
Traditional Tunes. 

A Collection of Ballad Airs, chiefly obtained in Yorkshire and 
the South of Scotland ; together with their appropriate words 
from broadsides and from oral tradition. Collected and edited, 
with illustrative notes, by Frank Kidson. Demy 8vo. 6/-. 

(An interesting collection of hitherto imprinted Folk melodies). yt^ 

Old English Country Dances. 

Gathered from scarce printed collections, and from manuscripts, 
for the Violin. With a short bibliography of old English 
Country Dance Books. Edited with notes by Frank Kidson. 
Oblong 8vo. 2/6. 

(A collection of some of the choicest and least known Old Country 
Dance Tunes taken from comparatively little known sources). 

Gio: Paolo Maggini : his life and work. 

Based on information derived from the archives of the town of 
Brescia, and from other sources ; containing three coloured plates 
of a Maggini Violin of great beauty, photographs of Brescia, and 
Maggini's house, with a facsimile of his hand-writing, and 
numerous other illustrations. Small folio. Price, 7/6. 

The Sala bue Stradivari 

A History and Critical Description of the famous Violin, commonly 
called " Le Messie," made by Stradivari in 1716, and afterwards 
sold by his son to Count Cozio di Salabue. Illustrated by three 
coloured plates Small folio. Price, 7/6. 

IN PREPARATION. 

The Life and Work of Antonio Stradivari. 

An exhaustive and critical account of the great maker and his 
work, to be illustrated by plates reproducing his most celebrated 
instruments, executed in the highest style of chromo-lithography 
from original drawings. 

The Life and Work of Gasparo da Salo. 

Treating of the origin of the Violin, and the part taken in its 

evolution by the makers of the Brescian school. Illustrated by 

photogravures. 

Further particulars of these two books will be announced shortly.